Church and Theatre in South Africa - Revision history

Ivor at 08:36, 9 May 2022

2022-05-09T08:36:40Z

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T05:25:01Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T05:22:13Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj at 05:12, 15 September 2016

2016-09-15T05:12:58Z

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T05:00:24Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T04:36:05Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T04:27:13Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj: /* The Anti-theatrical Campaign, Cape Town 1824-1838 */

2016-09-15T04:22:26Z

The Anti-theatrical Campaign, Cape Town 1824-1838

Satj at 05:00, 14 September 2016

2016-09-14T05:00:26Z

Satj: /* Sources */

2016-09-14T05:00:06Z

Sources

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 '''For more on this, see: '''
-The same is true of South Africa, since the Christian church has played a major role in education, cultural activities and even politics over the years. In this entry we consider some prominent moments in history when church and theatre publically supported or opposed each other.
+The same is true of South Africa since the Christian church has played a major role in education, cultural activities and even politics over the years. In this entry, we consider some prominent moments in history when church and theatre publically supported or opposed each other.
 ==The Anti-theatrical Campaign, Cape Town 1824-1838==
@@ Line 9: / Line 9: @@
 The [[Anti-theatrical Campaign]] or [[Anti-theatrical movement]] which arose in this period apparently had its roots in the Methodist movement in England, but soon linked with other religious communities in Cape Town and other towns.
-During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies,  and notably that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.
+During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well-respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies,  and notably, that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.
 Thus a series of disputes were set off, and over the next few years various attacks on public indecency, bad education, alcohol abuse and the like became the subject of debate and letters to the press. Other issues raised by the writers and protesters were the abuse of alcohol at performances, inspired by the international [[Temperance Movements in South Africa|Temperance Movement]].
-The anti-theatrical efforts against all kind of entertainments, [[Dutch]] and English, seem to increase from 1830 onwards, fanned by zeal of the Methodist movement[https://en.wikipedia.org/wiki/Methodism] active at the time and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order,  or the 'Temperantists'/People of the Temperance Movement"), in   1832.
+The anti-theatrical efforts against all kind of entertainments, [[Dutch]] and English, seem to increase from 1830 onwards, fanned by zeal of the Methodist movement[https://en.wikipedia.org/wiki/Methodism] active at the time and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order,  or the 'Temperantists'/People of the Temperance Movement"), in 1832.
-However, the foregoing debate about the merits of theatre was mostly run through public correspondence between 1830 and 1834, with theatres still active and thriving, but in 1835 it turned into a more  active and concentrated attack on all entertainments, including balls, card playing,  drinking, the desecration of the Sabbath, theatrical performances, and other "obscenities". Among the many plays which were attacked in the process were ''[[Othello]]'' and ''[[She Stoops to Conquer]]''. In turn Bosman also lists numerous serious and satirical retorts to such attacks in this period , in prose, verse and theatrical form.
+However, the foregoing debate about the merits of theatre was mostly run through public correspondence between 1830 and 1834, with theatres still active and thriving, but in 1835 it turned into a more active and concentrated attack on all entertainments, including balls, card playing, drinking, the desecration of the Sabbath, theatrical performances, and other "obscenities". Among the many plays which were attacked in the process were ''[[Othello]]'' and ''[[She Stoops to Conquer]]''. In turn, Bosman also lists numerous serious and satirical retorts to such attacks in this period, in prose, verse and theatrical form.
-These attacks and counter attacks reached their most fervent pitch in 1836, ''inter alia'' inspired by the anti-theatrical sermons of a certain  reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer''  and re-published in the ''[[South African Christian Recorder]]'' of August 1836. The religious attacks had now developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. The theatre building and its warehouses were finally sold in 1839, and then advertised as for rent as a venue for lectures courses and so on.  Ironically the venue was rented to the Presbyterian church, who converted it into a church for freed slaves, the St Stephen's congregation, with the support of the [[Dutch Reformed Church]]. This happened to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
+These attacks and counter attacks reached their most fervent pitch in 1836, ''inter alia'' inspired by the anti-theatrical sermons of a certain reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer''  and re-published in the ''[[South African Christian Recorder]]'' of August 1836. The religious attacks had now developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. The theatre building and its warehouses were finally sold in 1839, and then advertised as for rent as a venue for lectures courses and so on. Ironically the venue was rented to the Presbyterian church, who converted it into a church for freed slaves, the St Stephen's congregation, with the support of the [[Dutch Reformed Church]]. This happened to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
 ('''See also the entry on: [[St Stephen's Church]]''')

@@ Line 7: / Line 7: @@
 ==The Anti-theatrical Campaign, Cape Town 1824-1838==
-The [[Anti-theatrical Campaign]] or [[Anti-theatrical movement]] which arose in this period apparently had its roots in the Methodist movement and
+The [[Anti-theatrical Campaign]] or [[Anti-theatrical movement]] which arose in this period apparently had its roots in the Methodist movement in England, but soon linked with other religious communities in Cape Town and other towns.
 During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies,  and notably that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.

@@ Line 7: / Line 7: @@
 ==The Anti-theatrical Campaign, Cape Town 1824-1838==
-The [[Anti-theatrical Campaign]] or [[Anti-theatrical movement]] which arose in this period apparently had its roots in the Methodist movement and at its peak was inspired by the anti-theatrical sermons of a certain  reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer'' ( and re-published in the ''[[South African Christian Recorder]]'' of August 1836).
+The [[Anti-theatrical Campaign]] or [[Anti-theatrical movement]] which arose in this period apparently had its roots in the Methodist movement and
 During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies,  and notably that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.
@@ Line 17: / Line 17: @@
 However, the foregoing debate about the merits of theatre was mostly run through public correspondence between 1830 and 1834, with theatres still active and thriving, but in 1835 it turned into a more  active and concentrated attack on all entertainments, including balls, card playing,  drinking, the desecration of the Sabbath, theatrical performances, and other "obscenities". Among the many plays which were attacked in the process were ''[[Othello]]'' and ''[[She Stoops to Conquer]]''. In turn Bosman also lists numerous serious and satirical retorts to such attacks in this period , in prose, verse and theatrical form.
-These attacks and counter attacks reached their most fervent pitch in 1836, ''inter alia'' inspired by the anti-theatrical sermons of a certain  reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer''  and re-published in the ''[[South African Christian Recorder]]'' of August 1836. The religious attacks had now developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. The theatre building and its warehouses were finally sold in 1839, and then advertised as for rent as a venue for lectures courses and so on.  Ironically the venue was rented to a religious order to be converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
+These attacks and counter attacks reached their most fervent pitch in 1836, ''inter alia'' inspired by the anti-theatrical sermons of a certain  reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer''  and re-published in the ''[[South African Christian Recorder]]'' of August 1836. The religious attacks had now developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. The theatre building and its warehouses were finally sold in 1839, and then advertised as for rent as a venue for lectures courses and so on.  Ironically the venue was rented to the Presbyterian church, who converted it into a church for freed slaves, the St Stephen's congregation, with the support of the [[Dutch Reformed Church]]. This happened to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
-('''See also: [[St Stephen's Church]]''')
+('''See also the entry on: [[St Stephen's Church]]''')
 By contrast the [[Garrison Theatre]] probably remained open, though inactive, and began advertising productions again two years later, by which time the Anti-theatrical movement appears to have run its course.

@@ Line 6: / Line 6: @@
 ==The Anti-theatrical Campaign, Cape Town 1824-1838==
 During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies,  and notably that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.
@@ Line 15: / Line 17: @@
 However, the foregoing debate about the merits of theatre was mostly run through public correspondence between 1830 and 1834, with theatres still active and thriving, but in 1835 it turned into a more  active and concentrated attack on all entertainments, including balls, card playing,  drinking, the desecration of the Sabbath, theatrical performances, and other "obscenities". Among the many plays which were attacked in the process were ''[[Othello]]'' and ''[[She Stoops to Conquer]]''. In turn Bosman also lists numerous serious and satirical retorts to such attacks in this period , in prose, verse and theatrical form.
-These attacks and counter attacks reached their most fervent pitch in 1836, when the religious attacks had developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. It was finally sold in 1839, and the advertised as for rent as a venue for lectures courses and so on.  Ironically the venue was soon rented to a religious order to be converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
+These attacks and counter attacks reached their most fervent pitch in 1836, ''inter alia'' inspired by the anti-theatrical sermons of a certain  reverend C. Best in Sheffield, England, reviewed in ''The Christian Observer''  and re-published in the ''[[South African Christian Recorder]]'' of August 1836. The religious attacks had now developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. The theatre building and its warehouses were finally sold in 1839, and then advertised as for rent as a venue for lectures courses and so on.  Ironically the venue was rented to a religious order to be converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
 ('''See also: [[St Stephen's Church]]''')

← Older revision		Revision as of 05:00, 15 September 2016
Line 11:		Line 11:
	Thus a series of disputes were set off, and over the next few years various attacks on public indecency, bad education, alcohol abuse and the like became the subject of debate and letters to the press. Other issues raised by the writers and protesters were the abuse of alcohol at performances, inspired by the international [[Temperance Movements in South Africa\|Temperance Movement]].		Thus a series of disputes were set off, and over the next few years various attacks on public indecency, bad education, alcohol abuse and the like became the subject of debate and letters to the press. Other issues raised by the writers and protesters were the abuse of alcohol at performances, inspired by the international [[Temperance Movements in South Africa\|Temperance Movement]].

−	The anti-theatrical efforts against all kind of entertainments, [[Dutch]] and English, seem to ~~reach a pitch~~ from 1830 onwards, fanned by zeal of the Methodist movement[https://en.wikipedia.org/wiki/Methodism] active at the time and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order, or the 'Temperantists'/People of the Temperance Movement"), in 1832.	+	The anti-theatrical efforts against all kind of entertainments, [[Dutch]] and English, seem to increase from 1830 onwards, fanned by zeal of the Methodist movement[https://en.wikipedia.org/wiki/Methodism] active at the time and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order, or the 'Temperantists'/People of the Temperance Movement"), in 1832.
		+
		+	However, the foregoing debate about the merits of theatre was mostly run through public correspondence between 1830 and 1834, with theatres still active and thriving, but in 1835 it turned into a more active and concentrated attack on all entertainments, including balls, card playing, drinking, the desecration of the Sabbath, theatrical performances, and other "obscenities". Among the many plays which were attacked in the process were ''[[Othello]]'' and ''[[She Stoops to Conquer]]''. In turn Bosman also lists numerous serious and satirical retorts to such attacks in this period , in prose, verse and theatrical form.
		+
		+	These attacks and counter attacks reached their most fervent pitch in 1836, when the religious attacks had developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] and an advertisement of its sale in March 1838. It was finally sold in 1839, and the advertised as for rent as a venue for lectures courses and so on. Ironically the venue was soon rented to a religious order to be converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. Hence perhaps the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.
		+
		+	('''See also: [[St Stephen's Church]]''')
		+
		+	By contrast the [[Garrison Theatre]] probably remained open, though inactive, and began advertising productions again two years later, by which time the Anti-theatrical movement appears to have run its course.

−	By 1836 the religious attacks had developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] in 1838 and its sale in March 1839. Ironically the venue was soon converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. (Hence the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today. '''See also: [[St Stephen's Church]]''')

−	~~By contrast the [[Garrison Theatre]] probably remained open, though inactive, and began advertising productions again two years later.~~

@@ Line 11: / Line 11: @@
 Thus a series of disputes were set off, and over the next few years various attacks on public indecency, bad education, alcohol abuse and the like became the subject of debate and letters to the press. Other issues raised by the writers and protesters were the abuse of alcohol at performances, inspired by the international [[Temperance Movements in South Africa|Temperance Movement]].
-From 1832 onwards, fanned by what [[F.C.L. Bosman]] refers to as the Methodist movement and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order,  or the 'Temperantists'/People of the Temperance Movement"), in   1832.
+The anti-theatrical efforts against all kind of entertainments, [[Dutch]] and English, seem to reach a pitch from 1830 onwards, fanned by zeal of the Methodist movement[https://en.wikipedia.org/wiki/Methodism] active at the time and the founding of '''The Cape of Good Hope Temperance Society'''[https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/] on 28 January, 1832. The latter was a key event which led [[Charles Etienne Boniface]] to write his hilarious satire ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (lit. "The New Knighthood/New Chivalric Order,  or the 'Temperantists'/People of the Temperance Movement"), in   1832.
-By 1836 the religious attacks had developed into a wave of puritanism which actually closed [[The African Theatre]] in 1838 and the irony of its sale in March 1839 and its conversion into a church for freed slaves, to the disgust of the citizenry, who stoned the building. (Hence the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today.)
+By 1836 the religious attacks had developed into such a wave of puritanism that it actually led to the closing of [[The African Theatre]] in 1838 and its sale in March 1839. Ironically the venue was soon converted into a church for freed slaves, to the disgust of the citizenry, who stoned the building. (Hence the current name: [[St Stephen's Church]], a name first noted from 1847 onwards and is still in use today. '''See also: [[St Stephen's Church]]''')
 By contrast the [[Garrison Theatre]] probably remained open, though inactive, and began advertising productions again two years later.

← Older revision		Revision as of 04:22, 15 September 2016
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	==The Anti-theatrical Campaign, Cape Town 1824-1838==		==The Anti-theatrical Campaign, Cape Town 1824-1838==

−	During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and ~~diaologue~~ in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343).	+	During the 1820s there were already protests in the press against improprieties in theatre, the first apparently appearing in May 1824, protesting about the uncouth expressions and dialogue in a performance of Schiller's ''[[Kabaal en Liefde]]'', followed by an English letter from "A True Friend" in the Cape Chronicle of 27 October, warning about the "very thoughtless unguarded and tremendous imprecations" of one of the actors. (F.C.L. Bosman, 1928: p. 343). In 1826 the first real attack on theatre came in the form of a substantial letter by one "Serieus", which appeared in a well respected journal and commented on the bad influence of the dances and plays being put on by [[Dutch]] companies, especially the work of children's companies, and notably that of [[J. Suasso de Lima]], who responded with a pamphlet ''Iets over het Dansen en Toneelspelen'' on 1 May 1826, pointing out the long history of drama and theatre and its positive influence.
		+
		+	Thus a series of disputes were set off,

@@ Line 22: / Line 22: @@
 [JF/TH]
-= Sources =
+== Sources ==
 https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/

← Older revision		Revision as of 05:00, 14 September 2016
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	= Sources =		= Sources =
−
−
−	~~Bosman, F.C.L. Drama en Toneel in Suid-Afrika.~~

	https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/		https://tangerineandcinnamon.com/tag/womens-christian-temperance-union/