The notion of anonymity
Many plays are written by authors and performed by performers who, for various reasons, are unknown or prefer to be anonymous or to hide their identity in certain instances.
Were the names of authors are unknown, they are mostly listed as "Anonymous", but if the authors simply want to hide their identities, they may make use of a number of techniques, e.g. the use of a pseudonym or nom de plume, the omission of a name altogether, or the use of a phrase to indicate something like local authorship.
Similarly of course, performers and other theatre and film practitioners have for centuries employed stage names to hide their identities or to make them sound more acceptable, mysterious, artistic, etc.
For a discussion of the issue of anonymity and its implications, see the Wikipedia entry on "Anonymity" at https://en.wikipedia.org/wiki/Anonymity
South African examples
Among the exmaples of a pseudonym (usually referred to as a skuilnaam in Afrikaans) that have been used by playwrights in South Africa over the years are:
Chris van Lille
Der. F. la Yar,
Francis Jill Morwenna
Martin de Porres
Niggie van Eitemal ("Niece of Eitemal"
Paul de Roubaix or Paul Roubaix
Rip van Winkle
Wynand du Preez.
Besides omitting to mention an author altogether or using a pseudonym, a number general phrases have been used over time to identify as a local personality.
In Cape Town for example, one finds examples such as "A Gentleman of the Cape" (1858), "A Gentleman of Cape Town" (1862), "A Young Lady of Cape Town" (1870),
F.C.L. Bosman. 1928. Drama en Toneel in Suid-Afrika, Deel I: 1652-1855. Pretoria: J.H. de Bussy. .
F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik.
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