Die Laaste Woord - Revision history

Satj: /* Performance history in South Africa */

2022-07-31T16:24:39Z

Performance history in South Africa

Satj: /* The original text */

2022-07-31T16:24:19Z

The original text

Satj: /* Performance history in South Africa */

2022-07-31T16:03:51Z

Performance history in South Africa

Satj at 16:01, 31 July 2022

2022-07-31T16:01:18Z

Satj: /* The original text */

2022-07-31T16:00:35Z

The original text

Satj: /* The original text */

2022-07-31T15:56:15Z

The original text

Satj: /* The original text */

2022-07-31T15:55:30Z

The original text

Satj: /* The original text */

2022-07-31T04:59:17Z

The original text

Satj: /* The original text */

2022-07-31T04:54:17Z

The original text

Satj: /* The original text */

2022-07-31T04:52:55Z

The original text

@@ Line 37: / Line 37: @@
 == Performance history in South Africa ==
-Broadcast on [[Radio Sonder Grense]] on 13 Mei 2021, directed by [[Johan Rademan]] with [[Rolanda Marais]], [[Jacques Bessenger]] and [[Deon Lotz]]. Acoustic design by [[Cassi Lowers]].
+: Broadcast on [[Radio Sonder Grense]] on 13 Mei 2021, directed by [[Johan Rademan]] with [[Rolanda Marais]], [[Jacques Bessenger]] and [[Deon Lotz]]. Acoustic design by [[Cassi Lowers]].
 == Sources ==

← Older revision		Revision as of 16:24, 31 July 2022
Line 30:		Line 30:

	==The original text==		==The original text==
		+
		+	A radio play that explores the evolution of performed performed language over the course of two centuries, beginning with the start of of radio-recordings in 1938, then considers where we are in 2021 and then looks ahead at 2138 and how things would or could be then. The play approaches this history through by offering a fictional radio reading of Eugène Marais' famous poem ''Winternag'' ("winter night") from each of these periods.

	==Translations and adaptations==		==Translations and adaptations==

@@ Line 35: / Line 35: @@
 == Performance history in South Africa ==
-Broadcast on [[Radio Sonder Grense]] on 13 Mei 2021
+Broadcast on [[Radio Sonder Grense]] on 13 Mei 2021, directed by [[Johan Rademan]] with [[Rolanda Marais]], [[Jacques Bessenger]] and [[Deon Lotz]]. Acoustic design by [[Cassi Lowers]].
 == Sources ==

@@ Line 5: / Line 5: @@
 ==The original text==
-Referred to as a [[poësiefliek]] ("poetry film"), it is an animated interpretation of ''Vanishing voices'' a short [[Afrikaans]]  poem by Martjie Bosman[https://af.wikipedia.org/wiki/Martjie_Bosman], inspired by ''Vanishing Voices: The extinction of the world's languages'' (Oxford University Press, 2000)[https://users.ox.ac.uk/~romaine/vvoices.html], an award-winning study by Daniel Nettle and Suzanne Romaine. On the poem she contemplates the loneliness of someone who has become the last speaker of a dying language. It is Bosman's response to the perceived threat that her own mother tongue, [[Afrikaans]] and the culture attached to it, may disappear.
+Referred to as a [[poësiefliek]] ("poetry film"), it is an, as yet incomplete, animated interpretation of ''Vanishing voices'' a short [[Afrikaans]]  poem by Martjie Bosman[https://af.wikipedia.org/wiki/Martjie_Bosman], inspired by ''Vanishing Voices: The extinction of the world's languages'' (Oxford University Press, 2000)[https://users.ox.ac.uk/~romaine/vvoices.html], an award-winning study by Daniel Nettle and Suzanne Romaine. On the poem she contemplates the loneliness of someone who has become the last speaker of a dying language. It is Bosman's response to the perceived threat that her own mother tongue, [[Afrikaans]] and the culture attached to it, may disappear.
 In the film, animator [[Diek Grobler]] creates a character who literally is the last speaker of a dying language, who goes through the world, seeking someone who can still understand her.

@@ Line 5: / Line 5: @@
 ==The original text==
-Referred to as a [[poësiefliek]] ("poetry film"), it is an animated interpretation of a short [[Afrikaans]]  poem by Martjie Bosman[https://af.wikipedia.org/wiki/Martjie_Bosman], inspired by ''Vanishing Voices: The extinction of the world's languages'' (Oxford University Press, 2000)[https://users.ox.ac.uk/~romaine/vvoices.html], a book by Daniel Nettle and Suzanne Romaine. On the poem she contemplates the loneliness of someone who has become the last speaker of a dying language. It is Bosman's response to the perceived threat that her own mother tongue, [[Afrikaans]] and the culture attached to it, may disappear.
+Referred to as a [[poësiefliek]] ("poetry film"), it is an animated interpretation of ''Vanishing voices'' a short [[Afrikaans]]  poem by Martjie Bosman[https://af.wikipedia.org/wiki/Martjie_Bosman], inspired by ''Vanishing Voices: The extinction of the world's languages'' (Oxford University Press, 2000)[https://users.ox.ac.uk/~romaine/vvoices.html], an award-winning study by Daniel Nettle and Suzanne Romaine. On the poem she contemplates the loneliness of someone who has become the last speaker of a dying language. It is Bosman's response to the perceived threat that her own mother tongue, [[Afrikaans]] and the culture attached to it, may disappear.
-In the film, animator [[Diek Grobler]] creates a character who literally is the last speaker of a dying language, and then goes through the world, seeking someone who can still understand her.
+In the film, animator [[Diek Grobler]] creates a character who literally is the last speaker of a dying language, who goes through the world, seeking someone who can still understand her.
 The idea for the film was first posted by Grobler on his Facebook page in 2016, and was selected as a concept to be pitched at the Mifa pitching session at the Annecy International Animation Festival in France on 11-16 June, 2018.

@@ Line 11: / Line 11: @@
 The idea for the film was first posted by Grobler on his Facebook page in 2016, and was selected as a concept to be pitched at the Mifa pitching session at the Annecy International Animation Festival in France on 11-16 June, 2018.
-According to Grobler's later Facebook entry, the film was due for completion by the end of 2019, combining traditional and digital animation techniques such as cut-outs, drawing on paper, and 2D digital animation effects. However, in an interview with Laetitia Pople in 2021, he indicated that he hoped to have it completed by the end of that year.
+According to Grobler's later Facebook entry, the film was due for completion by the end of 2019, combining traditional and digital animation techniques such as cut-outs, drawing on paper, and 2D digital animation effects. However, in an interview with Laetitia Pople in 2021, he indicated that he could only obtain financing for it in 2020 so he hoped to have it completed by the end of 2021.
 ==Translations and adaptations==