Tone Brulin - Revision history

Satj: /* Sources */

2022-07-13T08:02:32Z

Sources

Satj: /* Connection with South Africa */

2022-07-13T08:02:08Z

Connection with South Africa

Satj: /* Connection with South Africa */

2022-07-13T07:18:21Z

Connection with South Africa

Satj: /* Sources */

2022-07-04T07:41:04Z

Sources

Satj at 04:22, 4 July 2022

2022-07-04T04:22:06Z

Satj: /* Sources */

2022-03-14T07:18:41Z

Sources

Satj at 07:09, 14 March 2022

2022-03-14T07:09:09Z

Satj at 07:04, 14 March 2022

2022-03-14T07:04:29Z

Satj: /* Sources */

2022-03-14T07:03:01Z

Sources

Miriamt: /* Brulin and Athol Fugard */

2016-08-15T14:27:53Z

Brulin and Athol Fugard

← Older revision		Revision as of 08:02, 13 July 2022
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	https://www.litnet.co.za/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/		https://www.litnet.co.za/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/
		+
		+	https://www.dbnl.org/tekst/_str010200101_01/_str010200101_01_0053.php

	Go to [[South African Theatre/Bibliography]]		Go to [[South African Theatre/Bibliography]]

@@ Line 39: / Line 39: @@
 From South Africa Brulin travelled directly to Ghana, the first independent African State under Kwame Nkrumah. There he married the daughter of a local chief, talked and corresponded with the wife of WEB Dubois, Shirley Graham-Dubois; a woman with exceptional political influence.
-He was brought to South Africa by [[NTO]] in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **. In 196* he brought Fugard to Belgium, where they founded the [[New Africa Group]] which performed in Brussels Palais des Beaux Arts at the International Avant-Garde Theatre Festivalwith [[A Kakamas Greek]] by [[David Herbert]] and and Brulin's own play on South Africa, ''[[De Honden]]'' (''Les Chiens'') ("The Dogs"), which Fugard directed **. In 199* he visited South Africa again, to direct ''[[Hamerman]]'',  another of his plays, for [[CAPAB]], taking it to the [[Grahamstown Festival]].*
+He was brought to South Africa by [[NTO]] in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **.
 ==Brulin and [[Athol Fugard]]==

@@ Line 39: / Line 39: @@
 From South Africa Brulin travelled directly to Ghana, the first independent African State under Kwame Nkrumah. There he married the daughter of a local chief, talked and corresponded with the wife of WEB Dubois, Shirley Graham-Dubois; a woman with exceptional political influence.
-He was brought to South Africa by [[NTO]] in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **. In 196* he brought Fugard to Belgium, where they founded the [[New Africa Group]] which performed in Brussels Palais des Beaux Arts at the International Avant-Garde Theatre Festivalwith [[A Kakamas Greek]] by [[David Herbert]] and and Brulin's own play on South Africa, ''[[De Honden]]'' (''Les Chiens'') ("The Dogs"), which Fugard directed **. In 199* he visited South Africa again, to direct ****,  another of his plays, for [[CAPAB]], taking it to the [[Grahamstown Festival]].*
+He was brought to South Africa by [[NTO]] in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **. In 196* he brought Fugard to Belgium, where they founded the [[New Africa Group]] which performed in Brussels Palais des Beaux Arts at the International Avant-Garde Theatre Festivalwith [[A Kakamas Greek]] by [[David Herbert]] and and Brulin's own play on South Africa, ''[[De Honden]]'' (''Les Chiens'') ("The Dogs"), which Fugard directed **. In 199* he visited South Africa again, to direct ''[[Hamerman]]'',  another of his plays, for [[CAPAB]], taking it to the [[Grahamstown Festival]].*
 ==Brulin and [[Athol Fugard]]==

← Older revision		Revision as of 07:41, 4 July 2022
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	== Sources ==		== Sources ==
		+
		+	https://theaterencyclopedie.nl/wiki/Tone_Brulin

	http://en.wikipedia.org/wiki/Tone_Brulin		http://en.wikipedia.org/wiki/Tone_Brulin

@@ Line 1: / Line 1: @@
-[[Tone Brulin]] (1926-) was is a Flemish playwright, stage director and drama teacher.
+[[Tone Brulin]] (1926-2019) was is a Flemish playwright, stage director and drama teacher.
@@ Line 30: / Line 30: @@
 He was appointed as a theatre adviser by the Government of the Netherlands at the Cultural Centre Curaçao and directed also in Aruba, Bonaire, Saba, St.Martin and St.Eustatius Les Negres by Jean Genet and ''[[Who’s Afraid of Virginia Woolf?]]'' and travelled widely in Venezuela, Colombia, Ecuador, Costa Rica and Nicaragua where he held theatre workshops.
 == Connection with South Africa ==

← Older revision		Revision as of 07:18, 14 March 2022
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	https://voertaal.nu/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/		https://voertaal.nu/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/
		+
		+	https://www.litnet.co.za/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/

	Go to [[South African Theatre/Bibliography]]		Go to [[South African Theatre/Bibliography]]

@@ Line 2: / Line 2: @@
@@ Line 11: / Line 10: @@
-Brulin studied scenographics at La Cambre (1943–1946) in Brussels. Its director Herman Teirlinck, successor of architect Henry Van de Velde, became Brulin's mentor. From 1946 until 1948 Brulin studied theatre at the Studio of the National Theatre in Antwerp. He also attended a BBC training course and became the first TV director for Drama at the Belgian Radio and Television Flemish Service in Brussels. Tone Brulin was co-founder of the avant-garde literary magazines Tijd en Mens (Time and Men) (1948), with [[Hugo Claus]] and Louis-Paul Boon and Gard Sivik (1952), with the poets Hugues Pernath and Paul Snoek. He published three volumes of short stories De Neger op de Sofa, Gevecht tussen twee Mannen van Rubber and Popsinger (Nijgh & van Ditmar) He acted in the first Flemish long feature film after the war, Meeuwen sterven in de Haven with Dora van der Groen and Julien Schoenarts.
+Born 11 May 1926 as '''Antoon Maria Albert van den Eynde''' in,  he
 In 1953 he founded in Antwerp the [[Nederlands Kamertoneel]] a professional Chamber Theatre and staged his first experimental plays. Brulin got attention as a playwright after he had won a Prize of the "Boekenweek" in Amsterdam when his play ''[[Twee is te weinig, drie is te veel]]'' was performed in the Stadschouwburg with Queen Juliana of the Netherlands in the audience.
@@ Line 28: / Line 32: @@
 == Connection with South Africa ==
 In Belgium, he returned to the KVS to stage several of his own plays. A tour with that company in Congo which included his play ''Nu het Dorp niet meer bestaat'' was the beginning of a contract in Africa. He staged several plays for the South African [[National Theatre Organisation]] in Pretoria and co-founded the [[NTO Kamertoneel]] ("NTO Chamber Theatre"), following the Antwerp model. He directed ''[[Waiting for Godot]]'' in which he played the role of Vladimir. He acted The Dauphin in ''[[St.Joan]]'' of G.B.Shaw. For the opening of the new [[Aula]] at the [[University of Pretoria]], a young [[Francois Swart]], acted the title role of "''[[Germanicus]]''" under his direction.
-From the apartheid regime in South Africa Brulin travelled drectly to the first independent African State under Kwame Nkrumah; Ghana; married there with the daughter of a local chief, talked and corresponded with the wife of WEB Dubois, Shirley Graham-Dubois; a woman with exceptional political innfluence.
+From South Africa Brulin travelled directly to Ghana, the first independent African State under Kwame Nkrumah. There he married the daughter of a local chief, talked and corresponded with the wife of WEB Dubois, Shirley Graham-Dubois; a woman with exceptional political influence.
-He was brought to South Africa by NTO in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **. In 196* he brought Fugard to Belgium, where they founded the [[New Africa Group]] which performed in Brussels Palais des Beaux Arts at the International Avant-Garde Theatre Festivalwith [[A Kakamas Greek]] by [[David Herbert]] and and Brulin's own play on South Africa, ''[[De Honden]]'' (''Les Chiens'') ("The Dogs"), which Fugard directed **. In 199* he visited South Africa again, to direct ****,  another of his plays, for [[CAPAB]], taking it to the [[Grahamstown Festival]].*
+He was brought to South Africa by [[NTO]] in 1958-59, to be a guest director in their new venue in Pretoria, the [[NTO Kamertoneel]]. This included ''[[Voorlopige Vonnis]]'' (Jozef van Hoeck), the opening play in that venue, ''[[Bruid in die Môre]]'' ([[Hugo Claus]]), ''[[Uncle Joe and the Juke Box]]'' (Tone Brulin), ''[[Mag ek Saamspeel]]'' (Marcel Achard), ''[[Waiting for Godot]]'' (Samuel Beckett), ''[[Hellersee]]'' ([[W.A. de Klerk]], as the first play in the new [[Bloemfontein Civic Theatre]], 1959) and ''[[Germanicus]]''?* (by [[N.P. Van Wyk Louw]]). In this time he also met and befriended [[Athol Fugard]], who worked as stage manager on some of the productions. He went to see productions of *** and **. In 196* he brought Fugard to Belgium, where they founded the [[New Africa Group]] which performed in Brussels Palais des Beaux Arts at the International Avant-Garde Theatre Festivalwith [[A Kakamas Greek]] by [[David Herbert]] and and Brulin's own play on South Africa, ''[[De Honden]]'' (''Les Chiens'') ("The Dogs"), which Fugard directed **. In 199* he visited South Africa again, to direct ****,  another of his plays, for [[CAPAB]], taking it to the [[Grahamstown Festival]].*
 ==Brulin and [[Athol Fugard]]==

@@ Line 1: / Line 1: @@
-[[Tone Brulin]] was born 11 May 1926 as '''Antoon Maria Albert van den Eynde'''. He is a Flemish playwright and stage director; drama teacher from Belgium.
+[[Tone Brulin]] (1926-) was is a Flemish playwright, stage director and drama teacher.
-== THIS NEEDS EDITING ==
+Born 11 May 1926 as '''Antoon Maria Albert van den Eynde'''. He
-== Career ==
+= REQUIRES EDITING =

← Older revision		Revision as of 07:03, 14 March 2022
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	http://schrijversgewijs.be/schrijvers/brulin-tone/		http://schrijversgewijs.be/schrijvers/brulin-tone/
		+
		+	https://voertaal.nu/en-dalk-gaan-niks-verlore-nie-tone-brulin-en-np-van-wyk-louws-germanicus/

	Go to [[South African Theatre/Bibliography]]		Go to [[South African Theatre/Bibliography]]

@@ Line 47: / Line 47: @@
 In 1970 Brulin directed Saboo, the first production of Théâtre Laboratoire Vicinal with Frédéruc Flamand (Plan K, Charleroi Danse now in Marseille) which caught the attention of Maurice Béjart
-In 1975 he founded The Theatre of the Third World, Tiedrie. Between 1975 and 1985 this company developed a multicultural repertory of African and Asian plays such as Kapai-kapai (12O performances), Ba Anansi, Charkawa Gilgamesh, The Prostitutes of Jakarta of Rendra and the Jero plays of Wole Soyenka. He worked intensively as a pioneer with African and Asian actors since Potopot was published in Théâtre de Belgique and in the early 195Os was staged with an actor of Sierra Leone. He published [[A Coon's Carnival]] and Our Lady of the Crabs (about hunger in South America). He wrote and directed for DNA, the New Amsterdam under the leadership of Rufus Collins, once a member of the American Living Theatre ([[A Coon's Carnival]], The Night of The Burning Apes, Mudhead).
+In 1975 he founded The Theatre of the Third World, Tiedrie. Between 1975 and 1985 this company developed a multicultural repertory of African and Asian plays such as Kapai-kapai (12O performances), Ba Anansi, Charkawa Gilgamesh, The Prostitutes of Jakarta of Rendra and ''[[The Jero Plays]]'' of Wole Soyenka. He worked intensively as a pioneer with African and Asian actors since Potopot was published in Théâtre de Belgique and in the early 195Os was staged with an actor of Sierra Leone. He published [[A Coon's Carnival]] and Our Lady of the Crabs (about hunger in South America). He wrote and directed for DNA, the New Amsterdam under the leadership of Rufus Collins, once a member of the American Living Theatre ([[A Coon's Carnival]], The Night of The Burning Apes, Mudhead).
 Some of his works have been translated and published in English, German, French, Spanish, Portuguese, Arabic, Malay, Norwegian, Russian, Hungarian, Romanian, Serbo-Croat and seen at world festivals like the Festival of Caracas,the Festival of Lisbon, the Holland Festival, the Edingburough Fringe, the Nancy Festival, St. Andrews, Bochum, Hong Kong, [[Grahamstown Festival]] and Erlangen Festivals.