André Huguenet - Revision history

Ivor: /* His legacy */

2026-07-22T10:00:16Z

His legacy

Darryl: /* Notes */

2024-01-16T15:29:24Z

Notes

Darryl: /* Notes */

2024-01-16T14:49:47Z

Notes

Satj at 13:30, 11 January 2024

2024-01-11T13:30:07Z

Satj at 13:28, 11 January 2024

2024-01-11T13:28:57Z

Satj at 13:28, 11 January 2024

2024-01-11T13:28:03Z

Satj: /* Die André Huguenet Geselskap ("The André Huguenet Company") */

2021-11-12T05:02:51Z

Die André Huguenet Geselskap ("The André Huguenet Company")

Satj: /* Die André Huguenet Geselskap ("The André Huguenet Company") */

2021-11-12T05:00:28Z

Die André Huguenet Geselskap ("The André Huguenet Company")

Satj: /* Die André Huguenet Geselskap ("The André Huguenet Company") */

2021-11-12T04:58:05Z

Die André Huguenet Geselskap ("The André Huguenet Company")

Ivor: /* The early years */

2021-06-02T14:34:12Z

The early years

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	His autobiography, entitled ''Applous! Die Kronieke van 'n Toneelspeler'' ("Applause! The Chronicles of an Actor"), was published by [[HAUM]] in 1950. A collections of essays and entitled ''Huguenet'', celebrating his career, was also edited by and published by in 196*.		His autobiography, entitled ''Applous! Die Kronieke van 'n Toneelspeler'' ("Applause! The Chronicles of an Actor"), was published by [[HAUM]] in 1950. A collections of essays and entitled ''Huguenet'', celebrating his career, was also edited by and published by in 196*.
		+
		+	In 1971 the annual [[Andre Huguenet Memorial Lecture]] was started by the [[Port Elizabeth Shakespearean Festival]].

	A theatre in the Grey College theatre complex, (the [[Sand du Plessis Theatre Complex]]), was named after him. It opened on opened August 1, 1985.		A theatre in the Grey College theatre complex, (the [[Sand du Plessis Theatre Complex]]), was named after him. It opened on opened August 1, 1985.

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	HUGUENET, André, [[Lydia Lindeque]], Nege produksies met Andre Huguenet: ''[[Genoveva]]'', ''[[Die Swart Hand]]'' & ''[[Ampie]]''. ''[[Oedipus Tyrannus]]'' by Sophocles, [[Sally Carrol]]. [[Helen Mann]], ''[[King Lear]]'' with André Huguenet, [[Port Elizabeth Shakespearean Festival]], 1960. He died on June 15, 1961, aged 55.		HUGUENET, André, [[Lydia Lindeque]], Nege produksies met Andre Huguenet: ''[[Genoveva]]'', ''[[Die Swart Hand]]'' & ''[[Ampie]]''. ''[[Oedipus Tyrannus]]'' by Sophocles, [[Sally Carrol]]. [[Helen Mann]], ''[[King Lear]]'' with André Huguenet, [[Port Elizabeth Shakespearean Festival]], 1960. He died on June 15, 1961, aged 55.

−	~~He played the lead role in James Elroy Flecker's ''Hassan'' on the West End in London.~~

← Older revision		Revision as of 14:49, 16 January 2024
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	HUGUENET, André, [[Lydia Lindeque]], Nege produksies met Andre Huguenet: ''[[Genoveva]]'', ''[[Die Swart Hand]]'' & ''[[Ampie]]''. ''[[Oedipus Tyrannus]]'' by Sophocles, [[Sally Carrol]]. [[Helen Mann]], ''[[King Lear]]'' with André Huguenet, [[Port Elizabeth Shakespearean Festival]], 1960. He died on June 15, 1961, aged 55.		HUGUENET, André, [[Lydia Lindeque]], Nege produksies met Andre Huguenet: ''[[Genoveva]]'', ''[[Die Swart Hand]]'' & ''[[Ampie]]''. ''[[Oedipus Tyrannus]]'' by Sophocles, [[Sally Carrol]]. [[Helen Mann]], ''[[King Lear]]'' with André Huguenet, [[Port Elizabeth Shakespearean Festival]], 1960. He died on June 15, 1961, aged 55.
		+
		+	He played the lead role in James Elroy Flecker's ''Hassan'' on the West End in London.
		+
		+
		+	[[Athol Fugard]]'s play ''[[Exits and Entrances]]'' is based around two meetings Fugard had with Huguenet between 1956 and 1961.

	= Sources =		= Sources =

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−	'''André Huguenet''', real name Gerhardus Petrus Borstlap, (1906 - June 15, 1961) [https://af.wikipedia.org/wiki/Andr%C3%A9_Huguenet] (~~stage name of '''~~Gert Borstlap~~'''~~) was one of the premier South African performers of the 20th century - a bilingual actor, director, theatre manager and journalist - impatient and crabby at times, but an inspirational mentor to many theatremakers over the years.	+	'''André Huguenet''', real name [[Gerhardus Petrus Borstlap]], (1906 - June 15, 1961) [https://af.wikipedia.org/wiki/Andr%C3%A9_Huguenet] (generally known as [[Gert Borstlap]]) was one of the premier South African performers of the 20th century - a bilingual actor, director, theatre manager and journalist - impatient and crabby at times, but an inspirational mentor to many theatremakers over the years.

	='''REQUIRES EDITING'''=		='''REQUIRES EDITING'''=

← Older revision		Revision as of 13:28, 11 January 2024
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−	'''André Huguenet''', real name Gerhardus Petrus Borstlap, (1906 - June 15, 1961) [https://af.wikipedia.org/wiki/Andr%C3%A9_Huguenet] (stage name of '''Gert Borstlap''') was one of the premier South African performers of the 20th century - a bilingual actor, director, theatre manager and journalist - and inspirational mentor to many.	+	'''André Huguenet''', real name Gerhardus Petrus Borstlap, (1906 - June 15, 1961) [https://af.wikipedia.org/wiki/Andr%C3%A9_Huguenet] (stage name of '''Gert Borstlap''') was one of the premier South African performers of the 20th century - a bilingual actor, director, theatre manager and journalist - impatient and crabby at times, but an inspirational mentor to many theatremakers over the years.

	='''REQUIRES EDITING'''=		='''REQUIRES EDITING'''=

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 Using Bethlehem as his base, Huguenet assembled a new cast including [[Lydia Lindeque]], [[Johan Piek]], [[Dewald van der Merwe]], [[Bettie Reitz]] and [[Ena du Toit]] to tour with ''[[Ampie]]'' by [[Jochem van Bruggen]], under the direction of [[Stephanie Fauré]]. Huguenet was clearly focusing on creating a form of [[Volksteater]] ("Folk Theatre") during the great depression and other plays in this period included ''[[Genoveva]]'', aimed specifically at the older rural audiences, ''[[Johannes van Wyk]]'', ''[[Die Swart Hand]]'' (a detective play), ''[[Ek het 'n man vermoor]]''  and ''[[Haar Egskeiding]]''. With his touring company, now called under the name [[Die Afrikaanse Toneelspeler]], [[André Huguenet Geselskap]] (Company), he went on to tour the country with Afrikaans versions of classic plays for more than 30 years. With the Huguenet’s first decade complete his further success for him and his company with ''[[Haar Egskeiding]]'' was eminent. [[African Theatres]] offered them a residency and the company was sponsored by this Organisation to play in all the main centres in South Africa.
-The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Stanislavsky and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).
+The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Konstantin Stanislavski[https://en.wikipedia.org/wiki/Konstantin_Stanislavski] and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).
 == The [[NTO]] Years ==

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−	Using Bethlehem as his base, Huguenet assembled a new cast including [[Lydia Lindeque]], [[Johan Piek]], [[Dewald van der Merwe]], [[Bettie Reitz]] and [[Ena du Toit]] to tour with ''[[Ampie]]'' by [[Jochem van Bruggen]], under the direction of [[Stephanie Fauré]]. Huguenet was clearly focusing on creating a form of [[Volksteater]] ("Folk Theatre") during the great depression and other plays in this period included ''[[Genoveva]]'', aimed specifically at the older rural audiences, ''[[Johannes van Wyk]]'', ''[[Die Swart Hand]]'' (a detective play), ''[[Ek het 'n man vermoor]]'' and ''[[Haar Egskeiding]]''. With his touring company, now called under the name [[Die Afrikaanse ~~Toneelspeeler~~]], André Huguenet Geselskap (Company), he went on to tour the country with Afrikaans versions of classic plays for more than 30 years. With the Huguenet’s first decade complete his further success for him and his company with ''[[Haar Egskeiding]]'' was eminent. [[African Theatres]] offered them a residency and the company was sponsored by this Organisation to play in all the main centres in South Africa. The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Stanislavsky and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society\|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?\|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).	+	Using Bethlehem as his base, Huguenet assembled a new cast including [[Lydia Lindeque]], [[Johan Piek]], [[Dewald van der Merwe]], [[Bettie Reitz]] and [[Ena du Toit]] to tour with ''[[Ampie]]'' by [[Jochem van Bruggen]], under the direction of [[Stephanie Fauré]]. Huguenet was clearly focusing on creating a form of [[Volksteater]] ("Folk Theatre") during the great depression and other plays in this period included ''[[Genoveva]]'', aimed specifically at the older rural audiences, ''[[Johannes van Wyk]]'', ''[[Die Swart Hand]]'' (a detective play), ''[[Ek het 'n man vermoor]]'' and ''[[Haar Egskeiding]]''. With his touring company, now called under the name [[Die Afrikaanse Toneelspeler]], [[André Huguenet Geselskap]] (Company), he went on to tour the country with Afrikaans versions of classic plays for more than 30 years. With the Huguenet’s first decade complete his further success for him and his company with ''[[Haar Egskeiding]]'' was eminent. [[African Theatres]] offered them a residency and the company was sponsored by this Organisation to play in all the main centres in South Africa.
		+
		+	The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Stanislavsky and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society\|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?\|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).

	== The [[NTO]] Years ==		== The [[NTO]] Years ==

← Older revision		Revision as of 04:58, 12 November 2021
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−	Using Bethlehem as his base, Huguenet assembled a new cast including [[Lydia Lindeque]], [[Johan Piek]], [[Dewald van der Merwe]], [[Bettie Reitz]] and [[Ena du Toit]] to tour with ''[[Ampie]]'' by [[Jochem van Bruggen]], under the direction of [[Stephanie Fauré]]. Huguenet was clearly focusing on creating a form of [[Volksteater]] ("Folk Theatre") during the great depression and other plays in this period included ''[[Genoveva]]'', aimed specifically at the older rural audiences, ''[[Johannes van Wyk]]'', ''[[Die Swart Hand]]'' (a detective play), ''[[Ek het 'n man vermoor]]'' and ''[[Haar Egskeiding]]''. With his touring company, now called under the name [[Die Afrikaanse ~~Toneelspeeeler~~]], André Huguenet Geselskap (Company), he went on to tour the country with Afrikaans versions of classic plays for more than 30 years. With the Huguenet’s first decade complete his further success for him and his company with ''[[Haar Egskeiding]]'' was eminent. [[African Theatres]] offered them a residency and the company was sponsored by this Organisation to play in all the main centres in South Africa. The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Stanislavsky and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society\|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?\|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).	+	Using Bethlehem as his base, Huguenet assembled a new cast including [[Lydia Lindeque]], [[Johan Piek]], [[Dewald van der Merwe]], [[Bettie Reitz]] and [[Ena du Toit]] to tour with ''[[Ampie]]'' by [[Jochem van Bruggen]], under the direction of [[Stephanie Fauré]]. Huguenet was clearly focusing on creating a form of [[Volksteater]] ("Folk Theatre") during the great depression and other plays in this period included ''[[Genoveva]]'', aimed specifically at the older rural audiences, ''[[Johannes van Wyk]]'', ''[[Die Swart Hand]]'' (a detective play), ''[[Ek het 'n man vermoor]]'' and ''[[Haar Egskeiding]]''. With his touring company, now called under the name [[Die Afrikaanse Toneelspeeler]], André Huguenet Geselskap (Company), he went on to tour the country with Afrikaans versions of classic plays for more than 30 years. With the Huguenet’s first decade complete his further success for him and his company with ''[[Haar Egskeiding]]'' was eminent. [[African Theatres]] offered them a residency and the company was sponsored by this Organisation to play in all the main centres in South Africa. The company went from a rural touring company to one that is centred in Johannesburg. With a more educated audience Huguenet was able to do Somerset Maugham’s ''The Sacred Flame'' (as ''[[Die Heilige Vlam]]''). In 1937 he left for London where he joined the British Drama League, a move which enabled him to undertake a journey to the U.S.S.R., where he meets Stanislavsky and sees Leo Tolstoy’s house. On his return, after another rural tour, he worked with [[Leontine Sagan]] on ''[[Night Must Fall]]'' and learnt much about English dialect and speech forms. Huguenet also directed the [[Johannesburg Repertory Society\|Johannesburg Repertory Players]] in [[Eugene O'Neill]]’s ''[[Anna Christie]]'' (the first time this text was staged in South Africa). Then he took to the road again and among the many plays he did over the years to follow were ''[[Absalom my Seun!]]'', ''[[Genoveva]]'', ''[[Ek het 'n man vermoor]]'', ''[[Haar Egskeiding]]'', ''[[By die ou Meulstroom]]'', ''[[Oom Bart]]'', ''[[Die Kwaksalwer]]'', ''[[As die mure kan praat]]'', ''[[Are You a Mason?\|Is jy 'n bokryer?]]'', ''[[Helshoogte]]'' (''Wuthering Heights''), ''[[Die Nagtegaal]]'', ''[[Geleende Vere]]'', and ''[[Galgtou]]'' ("Noose"). In 1947 he played the lead in the celebrated [[Afrikaans]] version of ''[[Hamlet]]'', under the auspices of [[African Theatres]]. Always involved in attempts to professionalise theatre. (For example, in 1936 he was on the first executive of the short-lived [[Toneelbond]] founded by the [[F.A.K.]] and an advisor to its [[Toneelburo]] in 1937).

	== The [[NTO]] Years ==		== The [[NTO]] Years ==

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−	Born in Bloemfontein in 1906, Gerhardus Petrus (Gert) Borstlap was the middle child of three siblings - an older sister Salome (Sally) and a younger brother Manie. He attended the Voorbereidende Tegniese Skool (Preparatory Technical School), a strict Calvinist school, where he began elocution and music lessons under Dr Thos. Blok. The school was located in the old "Dopper" Church in Zastron Street. At the age of 11 years, he started taking piano lessons and later became an organist in the church where he also led the catechism singing. At the age of 16 years, he took elocution lessons at [[Grey College]] and completed his studies in 1925. A precocious student he gained a reputation for his fine elocution work under the guidance of [[Marjorie Barrett]] and ??. Thanks to her he was given a role in ''[[Polly with a Past]]''. In 1950 he was awarded the Grey College Medal of Honour even though he only received it in 1954.	+	Born in Bloemfontein in 1906, Gerhardus Petrus (Gert) Borstlap was the middle child of three siblings - an older sister Salome (Sally) and a younger brother Manie. He attended the Voorbereidende Tegniese Skool (Preparatory Technical School), a strict Calvinist school, where he began elocution and music lessons under Dr Thos. Blok. The school was located in the old "Dopper" Church in Zastron Street. At the age of 11 years, he started taking piano lessons and later became an organist in the church where he also led the catechism singing. At the age of 16 years, he took elocution lessons at [[Grey College]] and completed his studies in 1925. A precocious student, he gained a reputation for his fine elocution work under the guidance of [[Marjorie Barrett]] and ??. Thanks to her he was given a role in ''[[Polly with a Past]]''. In 1950 he was awarded the Grey College Medal of Honour even though he only received it in 1954.

	== Discovery by Paul de Groot ==		== Discovery by Paul de Groot ==