Difference between revisions of "ESAT Bibliography Ra-Res"
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[[Almeda K. Rae|Rae, Almeda K.]] 1971. Dialogue and Characterization in the Plays of [[Athol Fugard]]. Unpublished master’s thesis Pretoria: University of Pretoria. | [[Almeda K. Rae|Rae, Almeda K.]] 1971. Dialogue and Characterization in the Plays of [[Athol Fugard]]. Unpublished master’s thesis Pretoria: University of Pretoria. | ||
| − | [[Christiane Rahner|Rahner, Christiane]] 1996. Community theatre and indigenous performance traditions: an introduction to Chicano Theatre, with reference to parallel developments in South Africa. ''Literator: Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies'', 17(3):61-76,. | + | [[Christiane Rahner|Rahner, Christiane]] 1996. Community theatre and indigenous performance traditions: an introduction to Chicano Theatre, with reference to parallel developments in South Africa. ''[[Literator: Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies]]'', 17(3):61-76,. |
[[Christiane Rahner|Rahner, Christiane]] 2007. “Führt was vor!” Traditionelle “Vorträge” in deutschsprachigen Gemeinden Südafrikas, in Fassel, Horst, Ulrich, Paul S., Schindler, Otto G. (eds.) ''Deutsches Theater im Ausland vom 17. zum 20. Jahrhundert: Interkulturelle Beziehungen in Geschichte und Gegenwart''. Berlin, Germany: Lit. 267-274. | [[Christiane Rahner|Rahner, Christiane]] 2007. “Führt was vor!” Traditionelle “Vorträge” in deutschsprachigen Gemeinden Südafrikas, in Fassel, Horst, Ulrich, Paul S., Schindler, Otto G. (eds.) ''Deutsches Theater im Ausland vom 17. zum 20. Jahrhundert: Interkulturelle Beziehungen in Geschichte und Gegenwart''. Berlin, Germany: Lit. 267-274. | ||
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[[Samuel Ravengai|Ravengai, Samuel]] 2015. [[African theatre|African Theatre]]: Why it is important to transpose Western classics. ''The Conversation'' , 26 October[http://theconversation.com/african-theatre-why-its-important-to-transpose-western-dramatic-classics-48777?utm_medium=email&utm_campaign=Latest+from+The+Conversation+for+October+26+2015+-+3700&utm_content=Latest+from+The+Conversation+for+October+26+2015+-+3700+CID_4f054333f1b9043761a488335297040e&utm_source=campaign_monitor_africa&utm_term=African%20theatre%20why%20its%20important%20to%20transpose%20Western%20dramatic%20classics] | [[Samuel Ravengai|Ravengai, Samuel]] 2015. [[African theatre|African Theatre]]: Why it is important to transpose Western classics. ''The Conversation'' , 26 October[http://theconversation.com/african-theatre-why-its-important-to-transpose-western-dramatic-classics-48777?utm_medium=email&utm_campaign=Latest+from+The+Conversation+for+October+26+2015+-+3700&utm_content=Latest+from+The+Conversation+for+October+26+2015+-+3700+CID_4f054333f1b9043761a488335297040e&utm_source=campaign_monitor_africa&utm_term=African%20theatre%20why%20its%20important%20to%20transpose%20Western%20dramatic%20classics] | ||
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| + | [[Samuel Ravengai|Ravengai, Samuel]]. 2023. The Theatre of Displacement and Migration in Southern Africa: Zimbabwe. In: Meerzon, Y., Wilmer, S. (eds) ''The Palgrave Handbook of Theatre and Migration''. Palgrave Macmillan, Cham. [https://doi.org/10.1007/978-3-031-20196-7_32] | ||
[[A. Ravenscroft|Ravenscroft, A.]] 1955. Teaching of set books: a play. ''Ons Eie Boek'', 21(1):31-33. | [[A. Ravenscroft|Ravenscroft, A.]] 1955. Teaching of set books: a play. ''Ons Eie Boek'', 21(1):31-33. | ||
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Rebirth of Port Elizabeth’s [[Opera House]]. 1968. ''Architect and Builder'', 18(2):16-19. | Rebirth of Port Elizabeth’s [[Opera House]]. 1968. ''Architect and Builder'', 18(2):16-19. | ||
| − | Reddingsdaadbond propaganda and the stage. 1941. ''Forum''. 4(9):28-29. | + | Reddingsdaadbond propaganda and the stage. 1941. ''''Forum''''. 4(9):28-29. |
| + | |||
| + | [[J.J. Redgrave|Redgrave, J.J.]] 1947. ''Port Elizabeth in Bygone Days''. Wynberg: | ||
| + | |||
[[Dennis Reinecke|Reinecke, Dennis]] 1985. [[Staatsteater]] Pretoria, in [[Temple Hauptfleisch|Hauptfleisch, Temple]] (ed.). ''The Breytie Book: A Collection of Articles on South African Theatre Dedicated to [[P.P.B. Breytenbach]]''. Johannesburg: The Limelight press. 87-90. | [[Dennis Reinecke|Reinecke, Dennis]] 1985. [[Staatsteater]] Pretoria, in [[Temple Hauptfleisch|Hauptfleisch, Temple]] (ed.). ''The Breytie Book: A Collection of Articles on South African Theatre Dedicated to [[P.P.B. Breytenbach]]''. Johannesburg: The Limelight press. 87-90. | ||
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[[Luc Renders|Renders, Luc]] 1999. A house divided: ideological conflict in contemporary Afrikaans literature, in [[Johannes A. Smit|Smit, Johannes A.]] (ed.). ''Body, Identity, Sub-cultures and Repression in Texts from Africa''. Durban: CSSALL. 126-140. | [[Luc Renders|Renders, Luc]] 1999. A house divided: ideological conflict in contemporary Afrikaans literature, in [[Johannes A. Smit|Smit, Johannes A.]] (ed.). ''Body, Identity, Sub-cultures and Repression in Texts from Africa''. Durban: CSSALL. 126-140. | ||
| − | [[Johannesburg Repertory Players|Repertory Players]]' success (J.M. Barrie's ''Shall We Join the Ladies?''; ''Rosalind''; ''The Old Lady | + | [[Johannesburg Repertory Players|Repertory Players]]' success (J.M. Barrie's ''[[Shall We Join the Ladies?]]''; ''[[Rosalind]]''; ''[[The Old Lady Shows Her Medals]]''). 1929. ''Footlights'', 1(4):12. |
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Rabe, D. de V. 1983. Mimiek: die kuns van die gehoorgestremde. Opvoedkundige Kultuur, 6(3):26-27.
Rabe, L. 1985. In Shakespeare se towerwoud. Sarie, 14-16. January 30.
Rabe, S. 1982. Introduction to the art of stage make-up. Arabesque, 13:36. April.
Rabson, J.S. 1979. Psychodrama with alcoholics: a social work perspective. Social Work, 15:220-221. October.
Racster, Olga 1951. Curtain Up! The Story of Cape Theatre. Cape Town: Juta and Company.
Rademeyer, Philip 2012. Embracing dis-ease: imagining queer African performance. South African Theatre Journal, 26(3):270-279.
Raditlhalo, S.I. 2002. South African Theater as/and Intervention, edited by Marcia Blumberg and Dennis Walder; The Drama of South Africa: Plays, Pageants and Publics Since 1910, by Loren Kruger. Reviewed in: Banham Martin, Gibbs, James, & Osofisan, Femi (eds.). African Theatre. Women. Oxford: James Curry. 171-175.
Raditlhalo, S.I. 2009. Truth in Translation: The TRC and the Translation of the Translators. Biography: An Interdisciplinary Quarterly, 32(1):89-101.
Rae, Almeda K. 1971. Dialogue and Characterization in the Plays of Athol Fugard. Unpublished master’s thesis Pretoria: University of Pretoria.
Rahner, Christiane 1996. Community theatre and indigenous performance traditions: an introduction to Chicano Theatre, with reference to parallel developments in South Africa. Literator: Tydskrif vir Besondere en Vergelykende Taal- en Literatuurstudie/Journal of Literary Criticism, Comparative Linguistics and Literary Studies, 17(3):61-76,.
Rahner, Christiane 2007. “Führt was vor!” Traditionelle “Vorträge” in deutschsprachigen Gemeinden Südafrikas, in Fassel, Horst, Ulrich, Paul S., Schindler, Otto G. (eds.) Deutsches Theater im Ausland vom 17. zum 20. Jahrhundert: Interkulturelle Beziehungen in Geschichte und Gegenwart. Berlin, Germany: Lit. 267-274.
Raidt, Edith H. 1981. Mariken van Nymegen - 'n middeleeuse mirakelspel. Reviewed in: Teaterforum, 2(1):82-86.
Raikes, R. Stage is set. 1971. Personality, 68-75. February 5.
Raine, Craig 1980. An interview with Athol Fugard. Quarto, (9):9-14.
Ramolao Makhene 2009. In Watterson, Lore (ed.). Standard Bank Young Artist Awards, 25 years. Randburg [South Africa] : DeskLink Media. 220-221.
Rapid development of National theatre. 1961. South African Digest, 8(7):9.
Rapoo, Connie 2011. 'Just give us the bones!': theatres of African diasporic returns. Critical Arts, 25(2):132-149.
Rassool, Ciraj & Witz, Lesley 1993. The 1952 Jan van Riebeeck Tercentenary Festival: Constructing and contesting public national history in South Africa. Journal of African History, 34:447-468.
Rautenbach, Elmarie 1999. Pieter-Dirk verklap Evita se geheim. Insig, 12/99:24.
Ravengai, Samuel 2015. African Theatre: Why it is important to transpose Western classics. The Conversation , 26 October[1]
Ravengai, Samuel. 2023. The Theatre of Displacement and Migration in Southern Africa: Zimbabwe. In: Meerzon, Y., Wilmer, S. (eds) The Palgrave Handbook of Theatre and Migration. Palgrave Macmillan, Cham. [2]
Ravenscroft, A. 1955. Teaching of set books: a play. Ons Eie Boek, 21(1):31-33.
Raymer, John David 1975. Eight Recent Plays by South African Dramatist Athol Fugard: his Method, his Development as a Playwright, his South African Context, and the Major Influences upon him. Unpublished doctoral dissertation. University of Ohio.
Raymond, Gerard 1993. Karma of violence. TheaterWeek, 6(306):24-30. June 21.
Razis, N. 1980. Popular theatre. South African Outlook, 110:102-103.
Read, John (comp.).1991. Athol Fugard. A Bibliography. Grahamstown: National English Literary Museum.
Rebirth of Port Elizabeth’s Opera House. 1968. Architect and Builder, 18(2):16-19.
Reddingsdaadbond propaganda and the stage. 1941. 'Forum'. 4(9):28-29.
Redgrave, J.J. 1947. Port Elizabeth in Bygone Days. Wynberg:
Reinecke, Dennis 1985. Staatsteater Pretoria, in Hauptfleisch, Temple (ed.). The Breytie Book: A Collection of Articles on South African Theatre Dedicated to P.P.B. Breytenbach. Johannesburg: The Limelight press. 87-90.
Renders, Luc 1999. A house divided: ideological conflict in contemporary Afrikaans literature, in Smit, Johannes A. (ed.). Body, Identity, Sub-cultures and Repression in Texts from Africa. Durban: CSSALL. 126-140.
Repertory Players' success (J.M. Barrie's Shall We Join the Ladies?; Rosalind; The Old Lady Shows Her Medals). 1929. Footlights, 1(4):12.
Click on the appropriate letters of the alphabet in the sub-list below.
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