Temple Hauptfleisch (1945-) is an academic, theatre researcher, archivist, critic, historian, lecturer, dramatist and occasional actor and part-time front of house manager.
Born on 27 June 1945 in Bloemfontein, to George Stephanus Hauptfleisch and Katerina Dafina Hauptfleisch (néé Du Plessis). His cousin, the South African stage, radio and film actor Pieter Hauptfleisch, was an early inspiration for a career in theatre.
He had his schooling at Grey College in Bloemfontein (1950-1962), then went to the University of the Orange Free State (UOFS) to complete a BA in English and Latin, and a BA Hons in English (1963-1969). Further studies at the University of South Africa (UNISA) led to an M.A. in English in 1972 with the thesis Greek Dramatic Conventions in Modern Drama and a D.Litt. et Phil. in 1978 with the title The Play as Communication: A Study of the Language of Drama. His supervisors were Leon Hugo and Ian Ferguson.
Became a teacher at Grey College in 1968, where he co-founded the Grey College Dramatic Society with Charles Malan in 1969, and was a part-time actor and front of house manager for the Performing Arts Council of the Orange Free State (PACOFS).
In 1972 joined the Human Sciences Research Council in Pretoria as sociolinguist, from 1978 head of the National Documentation Centre for the Performing Arts, which he later re-focused and called the Centre for South African Theatre Research (CESAT). In this period his major mentors were Carlos Tindemans, J.L. Styan, P.P.B. Breytenbach, Rinie Stead, P.G. du Plessis and Stephen Gray.
From 1988-1994 senior lecturer and researcher at the University of Stellenbosch Drama Department, lecturing on theatre history and theory, and running workshops in playwriting. In 1994 founded the Centre for Theatre and Performance Studies and later became professor and elected Chair of the Department (1995-2005) and director of the H.B. Thom Theatre (1995-2003). After retiring as chair, served as research professor and Director of the Centre for Theatre and Performance Studies (2006-2009).
Retired from the university in 2010 to devote his time to ESAT and other research and theatre projects.
Other academic positions
A member of numerous academic societies, he has held executive positions in a few, including:
Founding member and first secretary of the South African Association for Drama and Youth Theatre (SAADYT)
Founder and former chair of the South African Society Theatre Research (1999-2002)
Member of the executive of the International Federation for Theatre Research (1998-2007).
Member of the international advisory board for The Marvin Carlson Theatre Center at the Shanghai Theatre Academy (2016-)
He was the founding editor of the SAADYT Journal and the co-founder, co-editor and publisher of the South African Theatre Journal (with Ian Steadman) (1987-1997), later became sole editor & publisher for 13 years (1998-2010), then co-editor again (with Petrus du Preez) (2011-2013), before stepping down from the editorial board in 2014.
He has also been a member of the editorial boards of the journals Critical Arts, Shakespeare in South Africa (1986-1990), African Performance Review (2006-), Perfformio (2008-), Critical Perspectives (2007-), and Critical Stages (2008-).
On the editorial board for the Rodopi book series Themes in Theatre: Collective Approaches to Theatre and Performance (Editor Peter Eversman) and the Transnational Theatre Histories Series published by Palgrave Macmillan (Editor Christopher B. Balme).
He has written over a wide spectrum over the years, both as academic and as creative writer.
As academic, researcher and commentator
Besides a number of publications on various aspects of the sociology of language (including a 4 volume report on Language Loyalty in South Africa), he has written and published more than eighty works on the history of South African theatre, research methodology and the sociology of theatre since 1978, including numerous encyclopaedia entries on aspects of theatre and performance in the country for international publishers, and 8 book-length publications on the history and sociology of South African and international theatre. (See South African Theatre/Bibliography for a full list of his publications.)
The most influential books have been Athol Fugard: A Source Guide (Co-authors: Wilma Viljoen and Celeste Van Greunen, Johannesburg: Ad Donker, 1982), South African Theatre - Four plays and an Introduction (Co-author & -editor with Ian Steadman, Pretoria: De Jager-HAUM 1984), The Breytie Book: Essays on South African Theatre. (Johannesburg: The Limelight Press, 1985), Theatre and Society in South Africa: Reflections in a Fractured Mirror (J.L. van Schaik, 1997), Festivalising! Theatrical Events, Politics and Culture (co-edited with Shulamith Lev-Aladgem, Jacqueline Martin, Willmar Sauter and Henri Schoenmakers, Amsterdam, Rodopi, 2007). He has written more than eighty works on the history of South African theatre, research methodology and the sociology of theatre since 1978, including numerous encylopaedia entries on aspects of theatre and performance in the country for international publishers and 8 book-length publications.
Since his retirement from the University of Stellenbosch in 2010, he has undertaken ongoing research with The African Theatre and Performance Working Group of the IFTR, and begun to devote his time to the online, open access archival/publication project entitled is the Encyclopaedia of South African Theatre, Film, Media and Performance (ESAT), which he first began in about 2000, but formally set up in 2010. He is the current project leader and chief editor.
As creative writer, playwright and compiler of play collections
He began by writing and publishing a few poems and a short story, before turning to playwriting, producing 15 plays and editing and publishing 11 play-collections for schools.
Prominent among his plays are Wie is Leopold?(written 1971, published 1980), Bloedlyn [Bloodline] (unpublished, performed 1974), Op Salvokop (1984?), André (1985?) and One for the Road to Damaskus (2002 - a play developed with the aid of a National Arts Council grant).
He compiled and edited the following collections of plays:
As sole editor:
With Ian Steadman: South African Theatre: Four Plays and an Introduction (1984)
Awards and distinctions
[[Vita Award for Theatre Research]] (1982)
Rector’s Award for Outstanding Research, Stellenbosch University (1999)
In 2013 received the Kuns Onbeperk Toekenning ("Art Unlimited Award") for services to the arts.
Other work in theatre
He was an amateur and semi-professional actor in Bloemfontein for a while, playing mostly minor roles for the University of the Orange Free State Dramatic Society, the University's newly founded Drama Department, the Bloemfontein Repertory Society, the Bloemfontein Shakespeare Circle and the Performing Arts Council of the Orange Free State (PACOFS) in the years 1964-1971. Productions included The Dark Lady of the Sonnets (Shaw), Move Over, Mrs. Markham (Ray Cooney and John Chapman), Playing with Fire (Strindberg), The Rivals (Sheridan), The Tempest (Shakespeare) and Richard III (Shakespeare).
He was appointed part-time front of house manager for PACOFS between 1969 and 1971, and also co-founded the Grey College Dramatic Society with Charles Malan in 1969, directing a few plays with the pupils. As chair of the Drama Department in Stellenbosch, he was also ex officio director of the H.B. Thom Theatre, but he later created the position of Director and appointed Johan Esterhuizen as first incumbent.
Curriculum Vitae of Temple Hauptfleisch
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