‘Mission: Heartstone’ – Creating a Physical Theatre Performance by Incorporating South African Sign Language by Jamie Emily Marais Thesis presented in partial fulfilment of the requirements for the degree of MA in Drama and Theatre Studies in the Faculty of Arts and Social Sciences, Drama Department at the University of Stellenbosch. Supervisor: Prof. Petrus du Preez March 2020 1 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2020 Copyright © 2020 University of Stellenbosch All Rights Reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract Sign Language awareness is rapidly increasing throughout the world. One reason for this is the constant attempt to incorporate Sign Language into political, social and cultural spaces. South Africa is quickly joining this cultural and linguistic movement. This arts-based research describes the process of incorporating South African Sign Language (SASL) and British Sign Language (BSL) in the creation process of a Physical Theatre approached performance. The study examines mime, puppetry, object theatre, improvisation and contact improvisation as building blocks within the Physical Theatre process and indicates how a Sign Language can be related to and incorporated in these practises. These practises are discussed in relation to the characters and scenes in the performance creation and production of Mission: Heartstone. The study describes how the all-hearing cast, with no prior knowledge of SASL or BSL, experienced working with this visuospatial language. As part of the research, an alternative style script, mainly focusing on the Sign Language used in the production, is included. The study concludes with the discussion of how, jointly, Physical Theatre and Sign Language can be used as a creative impulse to create theatre. iii Stellenbosch University https://scholar.sun.ac.za Opsomming Die bewustheid van Gebaretaal is vining besig om wêreldwyd toe te neem. Een van die redes hiervoor, is die voordurende pogings om Gebaretaal in politiese, sosiale en kulturele ruimtes te gebruik. Suid-Afrika is besig om hierdie kulturele en taalkundige neiging na te volg. Hierdie kunsgebaseerde navorsing poog om te beskryf hoe Suid-Afrikaanse Gebaretaal (SASL) en Britse Gebaretaal (BSL), in die skeppingsproses van ‘n Fisiese Teater benaderde opvoering, opvoering, geïnkorporeer is. Dit ondersoek mimiek, poppespel, objekteater, improvisasie en kontak improvisasie as boustene in die Fisiese Teater proses, en hoe ‘n Gebaretaal mees effektief daarby ingeskakel kan word. Hierdie praktyke word bespreek in verhouding tot die karakters en tonele, in die skep en opvoering van ‘Mission: Heartstone’. Die studie beskryf die ervarings van die horende akteurs, met geen vooraf kennis van SASL of BSL nie, met hierdie visu-ruimtelike taal. As deel van die navorsing is daar ‘n alternatiewe styl geskrif ingesluit, wat hoofsaaklik gemik is op die Gebaretaal in die produksie. Die studie word afgesluit met die bespreking van hoe Fisiese Teater en Gebaretaal gesamentlik, suksesvol gebruik kan word as ‘n kreatiewe impuls om teater te skep. iv Stellenbosch University https://scholar.sun.ac.za Acknowledgements A very special thank you to: Firstly, my supervisor, Professor Petrus du Preez, who has selflessly and patiently guided me with your insight, creative suggestions and indispensable critique while sharing your immense wisdom. It is an honour to have you as my supervisor. Doctor Samantha Prigge-Pinaar who in her physical absence, was never absent in thought. You have cemented a love for Physical Theatre in me and I shall forever be grateful. My cast and crew of Mission: Heartstone for your involvement in this research/production. I appreciate your creative inputs and willingness to accompany me on part of my journey. Lulu Kieser, thank you for filling in the many blanks my brain had. Mareleen Theron, you are my wardrobe fairy-godmother. Stellenbosch University for funding my MA year. I am extremely grateful for this chance to grow and learn at your institute. Professor Frenette Southwood, Doctor Kate Huddleston and Professor Anne Baker for your welcoming nature and willingness to assist me. Your kindness radiates - you are my inspirations from the Stellenbosch University General Linguistics Department. Modiegi Njeyiyana and Zulfah Shabodien for having the patience to teach me their beautiful language. Thank you too, for allowing me to use your SASL vocabulary videos. INDEX1 CLASS POSS2 ENJOY. 2HELP1 SIGN LANGUAGE SOUTH-AFRICA LEARN. THANK-YOU. I-LOVE-YOU! My parents, Debbie and Willie Marais, for their unwavering support and prayers throughout the year. Thank you, Ma, for feeding me, washing my clothes and looking after my cat while I was away rehearsing. Thank you, Dad, for being the best Dad-info-pedia I could ask for. You are an inspiration to me every day. I love you to the moon and back. My sister, Melanie Marais, for your support and your artistic eye. Louise Barnes, for your steadfast encouragement and enduring support. Danielle De Klerk and Wali Shan for being my close friends and confidants. You have stood by my side and encouraged me every step of the way. Thank you for being there for me. v Stellenbosch University https://scholar.sun.ac.za Debra Weber Hofert for your time, effort and ability to separate my ‘draughts’ from my ‘droughts’, and my ‘desserts’ from my ‘deserts’. Most importantly, God, who has graciously blessed me with this opportunity to research something close to my heart. Thank You for guiding my path. vi Stellenbosch University https://scholar.sun.ac.za Table of Contents 1.1 Chapter One: Background ....................................................................................... 1 1.1.1 A Brief Personal Introduction .......................................................................... 1 1.2 Review of Current Literature ................................................................................... 4 1.2.1 Physical Theatre............................................................................................... 4 1.2.2 Sign Language ................................................................................................. 9 1.3 Problem, Focus and Goals ..................................................................................... 12 1.4 Research Question ................................................................................................ 15 1.5 Methodology ......................................................................................................... 16 1.6 Ethical Consideration ............................................................................................ 18 1.7 Limitations ............................................................................................................ 19 1.8 Structure of the Thesis .......................................................................................... 21 2. Chapter Two: Developing the Performance of Mission: Heartstone ............................. 22 2.1 Background ........................................................................................................... 22 2.2 The Beginning of the Process ................................................................................ 25 2.3 Techniques Used for Performance Development ................................................... 29 2.3.1 SASL Interpretation/Translation and the Limitations in the Creative Process . 29 2.3.2 Teaching of SASL and the Incorporation of Sign Language in the Performance 32 2.3.3 Puppetry and Object Work ............................................................................. 67 2.3.4 The Incorporation and Importance of Mime ................................................... 82 vii Stellenbosch University https://scholar.sun.ac.za 2.3.5 Contact Improvisation .................................................................................... 91 2.3.6 Examples of Improvisation and Exploration Exercises ................................... 99 2.4 Further Breakdown of Characters and Scene Development ................................. 112 2.4.1 Take-Off and Landing Sequence .................................................................. 112 2.4.2 Developing of Planet X ................................................................................ 119 2.4.3 Developing of Planet Slinky ......................................................................... 122 2.4.4 The Blackhole Development ........................................................................ 132 2.5 Set ...................................................................................................................... 135 2.6 Music .................................................................................................................. 139 2.7 Costumes ............................................................................................................ 142 2.7.1 Astronauts .................................................................................................... 145 2.7.2 Cleo ............................................................................................................