Basic principles in editing and using ESAT - Revision history

Satj: /* Terminological problems */

2019-04-04T06:03:08Z

Terminological problems

Satj: /* Names and dates of plays, films, etc. */

2019-04-04T05:54:56Z

Names and dates of plays, films, etc.

Satj: /* Names and dates of plays, films, etc. */

2019-04-04T05:54:38Z

Names and dates of plays, films, etc.

Satj at 05:52, 4 April 2019

2019-04-04T05:52:23Z

Satj: /* Names and dates of plays, films, etc. */

2019-04-04T05:49:11Z

Names and dates of plays, films, etc.

Satj: /* Names and dates of plays, films, etc. */

2019-04-04T05:23:09Z

Names and dates of plays, films, etc.

Satj: /* Names and dates of personalities */

2019-04-04T05:10:31Z

Names and dates of personalities

Satj at 04:55, 4 April 2019

2019-04-04T04:55:26Z

Satj at 04:53, 4 April 2019

2019-04-04T04:53:11Z

Satj at 04:39, 4 April 2019

2019-04-04T04:39:14Z

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 (Click link to see further discussion on the issue.)
-'''[[Actor]]/[[actress]]''' To avoid problems of gender, the neutral term performer is generally used, except where speaking about a specific person. However, the use of Actor as a general term referring to both male and female performers has come into vogue in some circles since the late 1990's. It will not be used in that way here, however.
+'''[[Actor]]/[[actress]]''' The use of '''[[actor]]''' as a general term referring to both male and female performers in a play or film has come into vogue in some circles since the late 1990's. It will not be used in that way in [[ESAT]], however. To  avoid problems of gender, the neutral term '''[[performer]]''' is thus generally employed, except where citing from a work following the older usage.
 '''[[African]]'''(as in “[[African theatre]]”, “African economy” and so on).  The notion of "Africanness" is widely contested today, and we certainly do not want to become embroiled in a debate about it.  As used here the term "African" is not an evaluative term, implying any kind of uniqueness or exoticism, but merely a regional indicator, referring to the entire geopolitical area we know as Africa today and to all the indigenous cultural forms, processes and artefacts created and used in that region.
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 Theatrical system: This refers to the whole network of activities that go into the making of theatre in South Africa – starting from the creative activities of writers, performers, designers, directors, etc,  through administrative and other basic and support activities, such as marketing, ticket-sales, agencies. It also includes external matters (Censorship processes, copyrighting, publishing, sponsorship, etc). The notion is a simplified version of the more complex ideas espoused by general systems-theory. (For further discussion of this see Part Three, Section 1: Terminology and Hauptfleisch, 1997.)
 == Return to ==

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 As mentioned in the previous section, another kind of problem is posed by translations, which often tend to have idiomatic titles in the new language, and may thus differ considerably from the original title.
-As noted in the previous section, theatre and film posters and programmes are rarely dated. A nightmare for archivists and historians.
+As noted in the previous section, theatre and film posters and programmes are rarely dated. A real nightmare for archivists and historians.
 === Names and dates of companies, venues and performances ===

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 As in the case of personalities, the names of plays, films and other creative works may vary considerably over the years, from place to place, or from first verions to amended version. Many plays and films have alternative titles in the UK and USA for example, while there was a time when plagiarized work was performed under new titles to avoid paying royalties etc.
-Another kind of problem is posed by translations, which also tend to have idiomatic titles in the new language, and may thuys differ considerably from the original.
+As mentioned in the previous section, another kind of problem is posed by translations, which often tend to have idiomatic titles in the new language, and may thus differ considerably from the original title.
 As noted in the previous section, theatre and film posters and programmes are rarely dated. A nightmare for archivists and historians.

← Older revision		Revision as of 05:52, 4 April 2019
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	When I started with this project, the same applied to the hugely influential electronic and filmic forms, i.e. Film, Television and Radio. However, since performers tend to work in these areas at the same time, the personalities section contained many film, TV or radio performers. Therefore, when [[Freddy Ogterop]] joined us as editor of a film section, it seemed logical to prepare for a full section on Media (Radio and TV) as well. So, in the current publication, the fields covered include film and media.		When I started with this project, the same applied to the hugely influential electronic and filmic forms, i.e. Film, Television and Radio. However, since performers tend to work in these areas at the same time, the personalities section contained many film, TV or radio performers. Therefore, when [[Freddy Ogterop]] joined us as editor of a film section, it seemed logical to prepare for a full section on Media (Radio and TV) as well. So, in the current publication, the fields covered include film and media.
		+
		+	===Translations and dubbed versions of plays and films===
		+
		+	Translations of the work is discussed under the original where this is known. A link from the title of the translation takes the reader to the original, where the translation is also discussed.

	== Accuracy ==		== Accuracy ==

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 ===Names and dates of plays, films, etc.===
-As in the case ofpersonalities the names of plays, films and other creative works may vary considerably over the years, from place to place, or from first verions to amended version. Many plays and films have alternative titles in the UK and USA for example, while there was a time when plagiarized work was performed under new titles to avaoid paying royalties etc.
+As in the case of personalities, the names of plays, films and other creative works may vary considerably over the years, from place to place, or from first verions to amended version. Many plays and films have alternative titles in the UK and USA for example, while there was a time when plagiarized work was performed under new titles to avoid paying royalties etc.
 As noted in the previous section, theatre and film posters and programmes are rarely dated. A nightmare for archivists and historians.

← Older revision		Revision as of 05:23, 4 April 2019
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	===Names and dates of plays, films, etc.===		===Names and dates of plays, films, etc.===
		+
		+	As in the case ofpersonalities the names of plays, films and other creative works may vary considerably over the years, from place to place, or from first verions to amended version. Many plays and films have alternative titles in the UK and USA for example, while there was a time when plagiarized work was performed under new titles to avaoid paying royalties etc.
		+
		+
		+	As noted in the previous section, theatre and film posters and programmes are rarely dated. A nightmare for archivists and historians.

	=== Names and dates of companies, venues and performances ===		=== Names and dates of companies, venues and performances ===

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 While we have done our best to check all our facts, given the enormous number of entries and cross-references included in this digital encyclopaedia, we are bound to make numerous mistakes. Again we would appreciate receiving corrections and comments, so as to rectify things in the database. (See the next point on names and dates, as well as “[[Updating ESAT]]” at the end of this introduction.)
-===Names and dates of personalities===
+===Names, dates and biographical data of personalities===
-Many writers, directors and performers work under one or more [[pseudonym]]s (''[[nom de plume]]'') from time to time,
+Many writers, directors and performers work under one or more pseudonyms from time to time, some well known, others not. This of course can lead to major problems in identifying the particular personality. Where such pseudonyms are known, the main entry will be on the best known name, with a cross reference link from other names. For example, the entry on the man born as '''[[Gert Borstlap]]''' will appear under his stage name of '''[[André Huguenet]]'''.
 ===Names and dates of plays, films, etc.===

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 When I started with this project, the same applied to the hugely influential electronic and filmic forms, i.e.  Film, Television and Radio. However, since performers tend to work in these areas at the same time, the personalities section contained many film, TV or radio performers. Therefore, when [[Freddy Ogterop]] joined us as editor of a film section, it seemed logical to prepare for a full section on Media (Radio and TV) as well. So, in the current publication, the fields covered include film and media.
-=== Accuracy ===
+== Accuracy ==
 While we have done our best to check all our facts, given the enormous number of entries and cross-references included in this digital encyclopaedia, we are bound to make numerous mistakes. Again we would appreciate receiving corrections and comments, so as to rectify things in the database. (See the next point on names and dates, as well as “[[Updating ESAT]]” at the end of this introduction.)
-=== Names and dates of companies, venues and performances ===
+==Names and dates of personalities==

@@ Line 2: / Line 2: @@
-=== Language and style ===
+== Language and style ==
 The encyclopaedia is written in the academic form of [[South African English]], which is largely based on British rather than American usage, as can be seen in the spelling of standard words such as [[theatre]], [[colour]].
-=== The South African focus ===
+== The South African focus ==
 There are two aspects to this issue, both which required simple and pragmatic solutions: