Testimonial theatre - Revision history

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Centaps at 06:41, 15 September 2010

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Created page with "Theatre of testimony. (Also testimonial theatre) A term introduced by Loren Kruger (1999). No doubt deriving some of its relevance from Athol Fugard’s publically expres..."

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Theatre of testimony. (Also testimonial theatre) A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of determination]], and [[Theatre for resistance]].

See [[Political theatre]].

Return to [[Political theatre]]

Return to [[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]

Return to [[Main Page]]

← Older revision		Revision as of 08:52, 7 August 2024
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−	Also referred to as '''Theatre of testimony'''. Terms introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154). She sees such theatre as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Resistance theatre\|Theatre for resistance]].	+	Also referred to as '''[[Theatre of testimony]]'''. Terms introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154). She sees such theatre as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Resistance theatre\|Theatre for resistance]].

← Older revision		Revision as of 06:44, 15 September 2010
Line 1:		Line 1:
−	Also referred to as '''Theatre of testimony'''. ~~A term~~ introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She ~~also refers to it as '''Testimonial~~ theatre~~''', which she sees~~ as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Resistance theatre\|Theatre for resistance]].	+	Also referred to as '''Theatre of testimony'''. Terms introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154). She sees such theatre as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Resistance theatre\|Theatre for resistance]].

← Older revision		Revision as of 06:42, 15 September 2010
Line 1:		Line 1:
−	Also referred to as '''Theatre of testimony'''. A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[~~Theatre of resistance~~\|Theatre for resistance]].	+	Also referred to as '''Theatre of testimony'''. A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Resistance theatre\|Theatre for resistance]].

← Older revision		Revision as of 06:41, 15 September 2010
Line 1:		Line 1:
−	Theatre of testimony. ~~(Also testimonial theatre)~~ A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Theatre of resistance\|Theatre for resistance]].	+	Also referred to as '''Theatre of testimony'''. A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Theatre of resistance\|Theatre for resistance]].

−	~~See [[Political theatre]].~~

	Return to [[Political theatre]]		Return to [[Political theatre]]

← Older revision		Revision as of 06:40, 15 September 2010
Line 1:		Line 1:
−	Theatre of testimony. (Also testimonial theatre) A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of determination]], and [[Theatre for resistance]].	+	Theatre of testimony. (Also testimonial theatre) A term introduced by [[Loren Kruger]] (1999). No doubt deriving some of its relevance from [[Athol Fugard]]’s publically expressed view of his role as that of “witness” to the events in the country, it refers to the theatre “conventionally associated with the anti-apartheid movement, …. Variously identified with ‘protest’ and ‘resistance’, and the names of [[Athol Fugard]], [[John Kani]], or [[Barney Simon]]”. (p 13). It is marked by “the dramatic interpretation of individual and collective narratives, and of politically proviocative topics…. Its presentation combines physical and verbal comedy, impersonation of multiple roles with minimal props and direct address to the audience..” (p154) She also refers to it as '''Testimonial theatre''', which she sees as constituting a “virtual public sphere” for a mode of counter publicity , “where South Africa could be depicted as it could have been and might yet be” (p13) and having the advantage of “institutional stability, sustained by liberal capital, and an audience large enough and legitimate enough - at home and abroad – to deflect overt suppression by the state” (p 154). Elsewhere she also refers to it variously as [[Theatre of defiance]], [[Theatre of defiance\|Theatre of determination]], and [[Theatre of resistance\|Theatre for resistance]].

	See [[Political theatre]].		See [[Political theatre]].