Difference between revisions of "ESAT Bibliography G"

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[[ESAT Bibliography A|A]] [[ESAT Bibliography B|B]] [[ESAT Bibliography C|C]] [[ESAT Bibliography D|D]] [[ESAT Bibliography E|E]] [[ESAT Bibliography F|F]] [[ESAT Bibliography G|G]] [[ESAT Bibliography H|H]] [[ESAT Bibliography I|I]]  [[ESAT Bibliography J|J]] [[ESAT Bibliography K|K]] [[ESAT Bibliography L|L]] [[ESAT Bibliography M|M]] [[ESAT Bibliography N|N]] [[ESAT Bibliography O|O]] [[ESAT Bibliography P|P]] [[ESAT Bibliography Q|Q]] [[ESAT Bibliography R|R]] [[ESAT Bibliography S|S]] [[ESAT Bibliography T|T]] [[ESAT Bibliography U|U]] [[ESAT Bibliography V|V]] [[ESAT Bibliography W|W]] [[ESAT Bibliography X|X]] [[ESAT Bibliography Y|Y]] [[ESAT Bibliography Z|Z]]
 
[[ESAT Bibliography A|A]] [[ESAT Bibliography B|B]] [[ESAT Bibliography C|C]] [[ESAT Bibliography D|D]] [[ESAT Bibliography E|E]] [[ESAT Bibliography F|F]] [[ESAT Bibliography G|G]] [[ESAT Bibliography H|H]] [[ESAT Bibliography I|I]]  [[ESAT Bibliography J|J]] [[ESAT Bibliography K|K]] [[ESAT Bibliography L|L]] [[ESAT Bibliography M|M]] [[ESAT Bibliography N|N]] [[ESAT Bibliography O|O]] [[ESAT Bibliography P|P]] [[ESAT Bibliography Q|Q]] [[ESAT Bibliography R|R]] [[ESAT Bibliography S|S]] [[ESAT Bibliography T|T]] [[ESAT Bibliography U|U]] [[ESAT Bibliography V|V]] [[ESAT Bibliography W|W]] [[ESAT Bibliography X|X]] [[ESAT Bibliography Y|Y]] [[ESAT Bibliography Z|Z]]
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Gabashane, Anthony Daniel 1996. The performance orientation of dramatic texts with
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specific reference to dialogue and didascalies in Athol Fugard's Playland and My children! My Africa! Pretoria : University of South Africa. (M.A. Thesis).
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GAFFNEY, FLOYD.  1988 A forgotten man:  Ira Alridge in Zagreb, Yugoslavia, 1853. South African Theatre Journal, 2(2):3-15
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Gaffney, Floyd 1992. Athol Fugard: regionalism, cultural diversity, and other matters. TheatreForum, 1(1): 53-56.
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Gagiano, Annie 2009. Mann, Chris Zithulele. Thuthula: Heart of the Labyrinth. Shakespeare in Southern Africa, 21: 95
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Gallet, Francoise. 1998. Off-the-wall prophet of theatre fusion. In: The Sunday Independent, July 5, 1998: 14.
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GALLOWAY, Francis 1990. Breyten Breytenbach as openbare figuur. Pretoria: HAUM-literêr.
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Gardiner, C. 1994. Transition and transformation: Shakespeare, Dickens, Serote. English in Africa, 37(2): 123-132. Bladsye?
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Gardner, C.O. 1970. Manson’s casserole. Theoria, 35: 35-49.
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Gardner, C.O. 1985. A talk to Natal Education Department English teachers. Crux, 19(1): 27-38.
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Gardner, Colin 1988. Teaching Shakespeare in Southern African universities: a response to Martin Orkin’s Shakespeare against apartheid. Shakespeare in Southern Africa, 2: 78-82.
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Garuba, H. (2001) ‘The Island writes back: Discourse/ Power and Marginality in Wole Soyinka’s The Swamp Dwellers, Derek Walcott’s The Sea at Dauphin, and Athol Fugard’s The Island’  Research in African Literatures, vol  32, No 4
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The Gaynor Young inquiry. 1990. South African theatre journal, 4(2): 12-29.
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Gelb, Hal 1990. Theater. Nation, 251(12): 427-429.
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Gener, Randy 1996. A song for a new world. (Athol Fugard’s play Valley song. American theatre, 13(1): 10.
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Gener, Randy 2005. Cultures in peril: theatrical adventures in South Africa and Mali, Uganda, Mexico, India, the Philippines and Sri Lanka. American theatre, 22(5): 23.
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Gener, Randy 2008. Africa writes back. American theatre, 25(9): 27.
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Gener, Randy 2009. A dark night of the soul (Athol Fugard’s Have you seen us? American theatre, 26(10): 23.
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GÉRARD, Albert. 1971. Four African Literatures. Berkeley: University of California Press.
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Gerard, Albert S. 1983. Comparative literature and African literatures :a series of lectures read at the University of South Africa in July 1981 /edited from the tape-recordings by the author. Goodwood: Via Afrika.
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Gerard, Albert S.1993. Comparative literature and African literatures. edited by C.F. Swanepoel. 2nd ed. Pretoria : Via Afrika
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Gerber, C.J. 1988. Drama-based didactic strategies in the secondary school. Pretoria: University of Pretoria. (M.A. thesis).
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Gerber, J. 1988. Drama and aid to understanding. Education and culture, 11(3): 28-29.
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GERICKE, Aletta. 2003. Herhinneringe. Cape Town: Uitgewery Oranje.
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GEVISSER, MARK & CAMERON, EDWIN (eds). 1994. Defiant desire: gay & lesbian lives in S.A. Johannesburg: Ravan.
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Gevisser, Mark 1994. Truth and consequences in post-apartheid theater. Theater magazine, 25(3): 8-18.
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Gevisser, Mark 1994. Writing for the man in the street.: an interview with John Ledwaba. Theater magazine, 25(3): 19-23.
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Gevisser, Mark. 1997. Setting the stage for a journey into SA’s heart of darkness. In: The Sunday Independent, August 10, 1997: 4.
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GILBERT, H. and TOMPKINS, J. 1996. Post-colonial Drama. London: Routledge.
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Gilbert S. Singing Against Apartheid: ANC Cultural Groups and the International
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Anti-Apartheid Struggle. Journal of Southern African Studies [serial online].
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June 2007;33(2):421-441.
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Gilmore, Wendy 1980. Modern Medici: a look at corporate sponsorship of the arts. Scenaria, (16): 3.
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Gilmore, Wendy 1980. Directors at work, no. 2: Leonard Schach. Scenaria, (16): 21-23, 42.
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Gillman, H.A. 1947. School drama in the brave new world. J.Soc.Educ. 25(3): 23-25. Kry niks wat klop met die afkorting nie. Is dit ooit SA? Gekry in Repert 1940-49, onderwerp THEATRE.
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The Gin game. 1978. Scenaria, (10) : 19.
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Glanvill, A. 1988. Drama in the classroom: a lesson for biblican studies. Educamus, 34(2): 19-21. February.
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GLASSER, MONA.  1960.  King Kong.  A Venture in the Theatre.  Cape Town: Norman Howell.
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Gleuck, Germaine 1984. Standard Bank Festival of the Arts: 10th anniversary celebration. Scenaria, (45): 19—23.
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Glueck, G. 1985. Frank Rogaly : South Africa’s ‘Mr Theatre’. Scenaria, (49) : 41-43.
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Glueck, Germaine 1986. The Port Elizabeth Opera House : past and present. Scenaria, (62) : 6-11.
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Glueck, Germaine 1986. The Port Elizabeth Opera House : the interior. Scenaria, (62) : 16-18.
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Gleuck, Germaine 1986a. Dance takes centre spotlight at Grahamstown Festival. [includes mime]. Scenaria, (65): 9-15.
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Gleuck, Germaine 1986b. The Port Elizabeth Opera House – past and present. Scenaria, (62): 5-11.
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GLOBAL SPOTLIGHT. American Theatre [serial online]. September 2007;24(7):70-71.
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American Theatre, Sep2007, Vol. 24 Issue 7, p70-71, 2p; Abstract: This article presents reviews of drama festivals around the world including the Witness Hilton Arts Festival at Hilton College in KwaZulu-Natal, South Africa,
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GLOBAL SPOTLIGHT. American Theatre [serial online]. July 2009;26(6):56-57.
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GLOBAL SPOTLIGHT. American Theatre [serial online]. September 2008;25(7):70-71.
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Goddard, Eugene. 2001. Soul-searching for Boetman. In: The Citizen, July 12, 2001: 28.
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Goddard, Kevin 2009. Romeo and Juliet, Helen Wilkins: theatre review. Shakespeare in Southern Africa, 21(1): 87-88.
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Gomes, L. 1980. Ons klein sterre maak groot geld. Huisgenoot, 140-143. October 9.
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Goodall, Sallyann 1979. Theatre workshop: a report on the theatre workshop for Natal schools, organized by SAITT Natal Branch, on 10th Feb. Scenaria, (13): 38.
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Goodman, L. 1984. Sholem Aleichem and the Yiddish theatre. Jewish affairs, 39(11): 18-20.
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Goodman, Lizbeth 1999. Two conversations with Yvonne Banning about gender and drama in South African theatre during and after Apartheid. Contemporary theatre
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review, 9(2): 5.
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GOODMAN, LIZBETH (Ed) 1999. Women, Politics and Performance in South African Theatre Today 1. Contemporary Theatre Review. An International Journal Volume 9 Part 1. Harwood Academic Publishers.
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GOODMAN, LIZBETH.  1994. Teaching feminist theatres:  Stages between theory and practice. South African theatre journal, 8(1):3-23
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Goodman, Ralph 2002. Fools, Bells and The habit of eating; three satires, by Zakes Mda. Reviewed in: South African theatre journal, 16: 241-243.
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Goosen, H. 1985. Bard of the Baakens. South African panorama, 30(9) : 18-23.
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Goosen, Helena 1986. Campus theatre ’86. South African panorama, 31(8) : 10-17.
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Gorak, Jan 1989. Nothing to root for: Zakes Mda and South African resistance theatre. Theatre journal, 41(4): 478-491.
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Gordon R. 2007.Guilty Secrets and Cultural Blind Spots: Miller's Plays in South
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Africa. Arthur Miller's Global Theater [e-book]. Ann Arbor, MI: U of Michigan P;
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2007:66-77.
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Gordon-Brown, Claire. 2003. How to survive when the rules of the game change. In: Business Day, September 29, 2003: 6.
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Gosher, Sydney Paul 1988.  A historical and critical survey of the South African one-act play written in English. Pretoria: UNISA. (D Litt-thesis.)  (D Litt dissertation.)
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Gouws, John 1990. Foucault and Shakespeare’s pedants, dotards, and drunks. Literator, 11(3): 29-41.
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Govender, Kubeshni 1996. Exploring text and con-text: analysis of  Ordinary people: the peacemakers (1993); television review. Reviewed in: South African theatre journal. 10(2): 193-199.
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GOVENDER, S. 1996. Interculturalism and South African Fusion Dance. Durban: Asoka Publications, University of Durban Westville?*
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GOVENDER, S. 1996. Interculturalism and South African Fusion Dance. Durban: Asoka Publications, University of Durban Westville?*
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Government White Paper on the creative arts. 1986. Scenaria, (65): 20.
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Graham, S. 2005. Private trauma, public drama: Fugard, Kani and Ntshona’s The island and Maponya’s Gangsters. English studies in Africa, 48(1): 107-123.
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Graham S. 2007. 'I Was Those Thousands!': Memory, Identity and Space in John Kani's
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Nothing but the Truth. Theatre Research International [serial online]. March
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2007;32(1):68-84.
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Graham, Shane 2009. South African literature after the Truth Commission: mapping loss. New York, NY; Palgrave Macmillan.
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Grahame, Margot 1947. It’s my ambition to bring six plays to South Africa. Outspan. 42(1082): 31-33. November 21.
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Graver, David 1997. Standard Bank National Arts Festival. Theatre journal, 49(1): 56-59.
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GRAVER, D. (ed) 1999. Plays for a New South Africa. Bloomington: Indiana University Press.
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Graver, David & Kruger, Loren 1989. South Africa’s national theatre: the market or the street?: New theatre quarterly, 19: 272-81.
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Graver, David 1995. Theatre in the new South Africa. Performing arts journal, 17(1): 103-109.
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Gray, Donald 1946.  More theatres needed in South Africa. Outspan. 39(997): 19. April 5.
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Gray, Stephen 1977. Our forgotten drama: Stephen Gray looks at the continuity of South African English drama. Speak: critical arts journal. 1(2):13-16; 46-47.
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Gray, Stephen 1978. Herman Charles Bosman and Lago Clifford. Africana notes and news, 23: 155-157. December.
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Gray, Stephen (ed.) 1978. Theatre one: new South African drama. Johannesburg: Donker
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Gray, Stephen 1978. Our forgotten drama. Speak, 1(2): 13-16. March-April.
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Gray, Stephen 1979. Southern African Literature. An Introduction. London: David Philip.
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Gray, Stephen 1979. Fugard in London. Heresy, 1:33-39.
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Gray, Stephen 1980. Athol Fugard’s development: a stocktaking. Theoria, 55: 33-36.
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Gray, Stephen (ed.) 1981 Theatre two: new South African drama. Johannesburg: Donker
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Gray, Stephen (ed.) 1982. Athol Fugard. Johannesburg, McGraw Hill.
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Gray, Stephen (1982).  Stephen Black: Three Plays.  Johannesburg, Ad Donker.
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Gray, Stephen 1982. Southern African Literature.  An Introduction.  Cape Town, David Philip.
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Gray, Stephen 1983. Processing life into words. The notebooks of Athol Fugard. Contrast, 14(3): 81-86.
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Gray, Stephen (ed.) 1984a. Market plays. Johannesburg: Donker.
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Gray, Stephen.  1984b.  South African drama: bedevilling categories: English Academy Review. 2. p.119-125.
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Gray, Stephen 1984c. The theatre of Fatima Dike. English Academy review, 2: 55-60.
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Gray, Stephen 1985. Desegregating the theatre. Index on censorship, 14(4): 11-14, 17.
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Gray, Stephen 1986. A chair called Agamemnon: Athol Fugard’s use of Greek dramatic myths. Standpunte, 39(4): 19-27.
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Gray, Stephen 1987. The Breytie Book – A collection of articles on South African theatre, edited by Temple Hauptfleisch. Reviewed in: South African theatre journal,1(2):96-97.
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Gray, Stephen 1990. ‘Between me and my country’: Fugard’s My children! My Africa! At the Market theatre, Johannesburg. New theatre quarterly, 6(21): 25-30.
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Gray, Stephen 1990. Interview with Geraldine Aron. South African theatre journal, 4(2):30-49.
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Gray, Stephen 1990. Women in South African theatre. South African theatre journal, 4(1): 75-87.
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Gray, Stehen (comp.) 1991. File on Fugard. London: Methuen Drama.
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Gray, Stephen 1993. Problems of compiling a collection of plays of the 1980s. South African theatre journal, 7(2): 63-76.
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Gray, Stephen (ed.) 1993. South Africa Plays. London: Nick Hern
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Gray, Stephen 1998. Notes on South African and Australian theatre. South African theatre journal, 12(1&2): 172-177.
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Gready, Paul 1994. Political autobiography in search of liberation: working class theatre, collaboration and the construction of identity. In: Gunner, Liz (ed.) Politics and performance: theatre, poetry and song in Southern Africa. Johannesburg: Witwatersrand University Press. p. 163-198.
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Great prestige project for the province [Transvaal]. 1966. Construction in Southern Africa, 11(2): 27-35.
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Greeff, M. 2008. John Vorster se meisiekinders: profiel van twee vroue. Lig, 73(7): 18-21.
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Green, Garth V. 1987. Characterization in Pieter-Dirk Uys’ Appassionata. UNISA English studies, 25(2): 18-22.
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GREEN, JEFFREY & RYE, HOWARD. 1988.  “To the Mother Country”:  Jamaican entertainers in Britain, 1906 – 1936. South African theatre journal, V2(2):62-75GREER, ???GRAHAM. 2001.  The role of the theatre critic in a post-apartheid South Africa. South African theatre journal, 15: 56-64.
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Green, Michael 1984. The politics of loving: Fugard and the metropolis. English Academy review, 2: 41-54.
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Green, Robert J.1976. The drama of Athol Fugard. In: Heywood, C (ed.) Aspects of South African literature. London, Heinemann, +p.163-173.
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Greer, Graham. 2001. The role of the professional theatre critic in a post-apartheid South Africa. SATJ 15: 56-64.
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Greig, Robert J. 1980. To subsidise or not to subsidise? New nation, 9(2): 10-11.
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Greig R. 1989. Zap-Pow-Whammee-Glop: Muller's Macbeth. Shakespeare in Southern Africa:
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Journal of the Shakespeare Society of Southern Africa [serial online].
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1989;3:92-94.
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Greig, Robert. 1995a. Theatre of the absurd: how success can narrow profit margins. In: The Sunday Independent, October 1, 1995: 18.
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Greig, Robert. 1995b. Bergville Stories evoke complex responses about theatre language. In: The Sunday Independent, November 26, 1995: 21.
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Greig, Robert. 1996. Glib judgments on domestic violence betray brilliantly observed characters. In: The Sunday Independent, August 4, 1996: 20.
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Greig, Robert. 1997a. Original, radical Ubu manages to find integrity in an artistic minefield. In: The Sunday Independent, August 3, 1997: 14.
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Greig, R. (1996) ‘Medea creates a thrilling theatrical language of passion for a new order’. The Sunday Independent, Feb. 4th 1996, p. 21-22
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Greig, Robert. 1997b. An intoxicating whiff of the pointedly irrational. In: The Sunday Independent, November 2, 1997: 16.
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Greig, Robert. 1998a. Playwright brilliantly fumbles and fondles his way through post-apartheid pathos. In: The Sunday Independent, January 25, 1998: 14.
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Greig, Robert. 1998b. Brutal realism of Hola Majita! makes a mockery of prison reform. In: The Sunday Independent, February 1, 1998: 14.
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Greig, Robert. 1998c. Slabolepszy makes a bold move, but his nostalgia is overpowering. In: The Sunday Independent, February 15, 1998: 14.
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Greig, Robert. 1998d. Civic starts planning life after budget cuts. In: The Sunday Independent, July 5, 1998: 12.
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Greig, Robert. 1998e. Too gay for a brutal and forgotten subject. In: The Sunday Independent, September 6, 1998: 13.
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Greig, Robert. 1999a. Genre-bending operas breach fresh frontier. In: The Sunday Independent, July 4, 1999: 12.
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Greig, Robert. 1999b. As arts migrate to smaller towns, they also enter the global arena. In: The Sunday Independent, September 26, 1999: 11.
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Greig, Robert. 2000a. An Afrikaner nationalist now under a new flag. In: The Sunday Independent, April 9, 2000: 12.
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Greig, Robert. 2000b. Profound play in which the shoe mostly fits. In: The Sunday Independent, June 4, 2000: 11.
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Greig, Robert. 2000c. A fringe of sex, but everyday life at heart. In: The Sunday Independent, July 9, 2000: 12.
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Greig, Robert. 2000d. Fanny-in-the-face theatre puts words to taboos lived in silence. In: The Sunday Independent, October 15, 2000: 12.
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Greig, Robert. 2001a. Future of state theatres remains uncertain: The government expects the private sector and provinces to chip in. In: The Sunday Independent, April 8, 2001: 10.
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Greig, Robert. 2001b. A mountain of South African theatre - One of the most complex and mature plays written in this country in the past two decades, it makes others look infantile. In: The Sunday Independent, April 29, 2001: 21.
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Greig, Robert. 2001c. Roll up for a relentlessly feverish vision of Amin’s circus maximus. In: The Sunday Independent, July 8, 2001: 10.
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Greig, Robert. 2001d. History brought to life in hard-edged vignettes. In: The Sunday Independent, September 16, 2001: 11.
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Greig, Robert. 2002a. How to sweep R24 million under the carpet. In: The Sunday Independent, April 28, 2002: 10.
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Greig, Robert. 2002b. Fugard takes a new tack with his latest work. In: The Sunday Independent, July 21, 2002: 11.
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Greig, Robert. 2003a. Tribute to pioneering activist Simon Nkoli captures his vitality, wit and endurance. In: The Sunday Independent, April 20, 2003: 11.
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Greig, Robert. 2003b. Filling of seats now takes centre stage: Several theatres countrywide are to become state-funded playhouses. In: The Sunday Independent, April 27, 2003: 10.
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Greig, Robert. 2003c. Grahamstown monologues. In: The Sunday Independent, July 6, 2003: 10.
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Greig, Robert. 2003d. Stripped-down satire weeds out social stereotypes. In: The Sunday Independent, August 17, 2003: 10.
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Greig, Robert. 2004. Popular production falls foul of the social engineers. In: The Sunday Independent, February 8, 2004: 11.
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Greig, Robert & Peel, Kit. 2000. Is it curtains for the State Theatre? How the sorry story unfolded. In: The Sunday Independent, May 7, 2000: 10.
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Greyvenstein, Walter 1988a. The history and development of children's theatre in English in South Africa. Johannesburg: Rand Afrikaans University. (D. Litt. et Phil. thesis).
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Greyvenstein, Walter 1988b. Why not play in the classroom? Lyra academica, 3(2): 50-62.
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Greyvenstein, Walter 1989a.Theatre and Popular Entertainment in South Africa.  In: South African theatre journal, 3(2), September. 
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Greyvenstein, Walter 1989b. Let us entertain you! children’s theatre and popular entertainment. South African theatre journal, 3(2): 51-68.
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Greyvenstein, Walter 1989c. Players, a collection of one-act plays, edited by Temple Hauptfleisch & Ted Townsend. Reviewed in: South African theatre journal, 3(1): 103-104.
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Greyvenstein, Walter 1990. Drama as a method for teahers of English. Crux, 24(4): 24-51.
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Greyvenstein, Walter 1994. Playwrights and human rights by Paddy Terry & Herman Kotze. Reviewed in: South African theatre journal, 8(1): 93-96.
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Greyvensteyn, Z. 1980a. Dawie Malan – a profile. Scenaria, (18): 26-27.
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Greyvensteyn, Z. 1980b. Siegfried Mynhardt: a profile. Scenaria, (17): 17-18.
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Griebenow, Francois. 2000. Boetman-volksdrama. In: Beeld, May 30, 2000: 11.
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Griffin, Jennifer 1992. John Kani: reading the troubled landscape of South Africa. American theatre, 9(8): 26-27.
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Griffin, Jennifer 1993. Paul Slabolepszy: coming of age in the cradle of apartheid. American theatre, 10(9): 47-48.
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Grimbeek, D. 1977. Opvoedkundige waarde van toneelspel. Rehabilitation in South Africa, 21:59060. October.
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Grobbelaar, Michal 1952. Beligting vir die toneel. Helikon, 1(4): 99-102.
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Grobbelaar, Michal 1960. Suidwes toe! [Nasionale toneelgroep besoek S.W.A.] Brandwag, 14(43): 17. November 24.
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Grobbelaar, Michal et al. (eds.) 1962. The Johannesburg Civic Theatre/ Die Johannesburgse Stadskouburg. Johannesburg: Johannesburg Civic Theatre.
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Grobbelaar, Michal 1971. Ontwikkeling van die Afrikaanse toneel 1832-1950, deur L.W.B. Binge. Reviewed in Tydskrif vir geesteswetenskappe, 11(1): 66-67.
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Grobbelaar, Michal 1986. Die uitvoerende kunste. Lantern, 35(4) : 67-69.
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Grobbelaar, Michal 1985. Die Breytenbach-skouburg. In: Temple Hauptfleisch (ed) The Breytie Book. Johannesburg: The Limelight Press. p. 73-77.
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Grobler, E.E. 1998. Teater en terapie: ‘n teaterwetenskaplike ondersoek. Stellenbosch: Universiteit van Stellenbosch. (M Dram thesis).
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Grobler, Esmé 1990. Varieties of dramatic dialogue. South African theatre journal, 4(1): 38-60.
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Grobler, H. 1976. Rebellie van Lafras Verwey [by] Chris Barnard. [Literary criticism]. Klasgids, 11(1): 23-30. March.
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Grobler, H.B. 1971. Algemene verligting van ‘n teater vir die uitvoerende kunste. Tegnikon, 20(4): 23-28. December.
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Grobler, Hilda 1989. Realiteit van die spel of spel van die realiteit? Kanttekeninge by Pieter Fourie se drama Ek, Anna van Wyk. Stilet, 1(2): 89-95.
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Grobler, H. 1993. The kitchen as battlefield – with special reference to the award winning play Kitchen blues by Jeanne Goosen. Journal of literary studies, 9(1): 50-56.
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GROBLER, M. 2002.  Die Toneelstuk van Breyten Breytenbach as die oorlogmasjien. Fragmente. No 9:73-87.
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Groenewald, H.C. 1977. Struktuurbeskrywing van die historiese drama in Zulu. Limi, 5(1-2): 48-66.
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Groenewald, H.C. 1981. Aspekte van drama met besondere verwysing na die Zulu-drama. Suid-Afrikaanse tydskrif vir Afrikatale, suppl 1: 12-42.
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Groenewald, H.C. 1989. Insumansumane: Zondi’s scenario for today. South African journal of African languages, 9(1): 6-13.
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Groenewald, H.C. 2000.  A little space in history: some historical perspectives on Zulu theatre. South African theatre journal,14: 114-128.
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Groenewald, H.C. 2001.  The immoral subject:  The moral play in Zulu. South African theatre journal,15: 65-76
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Groenewald, H.C. 2002.  A little space in history – some historical perspectives on Zulu theatre. South African theatre journal, 16: 30-43.
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Revision as of 10:32, 23 August 2010

Click on the appropriate letter of the alphabet below to find the relevant list.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


Gabashane, Anthony Daniel 1996. The performance orientation of dramatic texts with specific reference to dialogue and didascalies in Athol Fugard's Playland and My children! My Africa! Pretoria : University of South Africa. (M.A. Thesis).

GAFFNEY, FLOYD. 1988 A forgotten man: Ira Alridge in Zagreb, Yugoslavia, 1853. South African Theatre Journal, 2(2):3-15

Gaffney, Floyd 1992. Athol Fugard: regionalism, cultural diversity, and other matters. TheatreForum, 1(1): 53-56.

Gagiano, Annie 2009. Mann, Chris Zithulele. Thuthula: Heart of the Labyrinth. Shakespeare in Southern Africa, 21: 95

Gallet, Francoise. 1998. Off-the-wall prophet of theatre fusion. In: The Sunday Independent, July 5, 1998: 14.

GALLOWAY, Francis 1990. Breyten Breytenbach as openbare figuur. Pretoria: HAUM-literêr.

Gardiner, C. 1994. Transition and transformation: Shakespeare, Dickens, Serote. English in Africa, 37(2): 123-132. Bladsye?

Gardner, C.O. 1970. Manson’s casserole. Theoria, 35: 35-49.

Gardner, C.O. 1985. A talk to Natal Education Department English teachers. Crux, 19(1): 27-38.

Gardner, Colin 1988. Teaching Shakespeare in Southern African universities: a response to Martin Orkin’s Shakespeare against apartheid. Shakespeare in Southern Africa, 2: 78-82.

Garuba, H. (2001) ‘The Island writes back: Discourse/ Power and Marginality in Wole Soyinka’s The Swamp Dwellers, Derek Walcott’s The Sea at Dauphin, and Athol Fugard’s The Island’ Research in African Literatures, vol 32, No 4

The Gaynor Young inquiry. 1990. South African theatre journal, 4(2): 12-29.

Gelb, Hal 1990. Theater. Nation, 251(12): 427-429.

Gener, Randy 1996. A song for a new world. (Athol Fugard’s play Valley song. American theatre, 13(1): 10.

Gener, Randy 2005. Cultures in peril: theatrical adventures in South Africa and Mali, Uganda, Mexico, India, the Philippines and Sri Lanka. American theatre, 22(5): 23.

Gener, Randy 2008. Africa writes back. American theatre, 25(9): 27.

Gener, Randy 2009. A dark night of the soul (Athol Fugard’s Have you seen us? American theatre, 26(10): 23.

GÉRARD, Albert. 1971. Four African Literatures. Berkeley: University of California Press.

Gerard, Albert S. 1983. Comparative literature and African literatures :a series of lectures read at the University of South Africa in July 1981 /edited from the tape-recordings by the author. Goodwood: Via Afrika.

Gerard, Albert S.1993. Comparative literature and African literatures. edited by C.F. Swanepoel. 2nd ed. Pretoria : Via Afrika

Gerber, C.J. 1988. Drama-based didactic strategies in the secondary school. Pretoria: University of Pretoria. (M.A. thesis).

Gerber, J. 1988. Drama and aid to understanding. Education and culture, 11(3): 28-29.

GERICKE, Aletta. 2003. Herhinneringe. Cape Town: Uitgewery Oranje.

GEVISSER, MARK & CAMERON, EDWIN (eds). 1994. Defiant desire: gay & lesbian lives in S.A. Johannesburg: Ravan.

Gevisser, Mark 1994. Truth and consequences in post-apartheid theater. Theater magazine, 25(3): 8-18.

Gevisser, Mark 1994. Writing for the man in the street.: an interview with John Ledwaba. Theater magazine, 25(3): 19-23.

Gevisser, Mark. 1997. Setting the stage for a journey into SA’s heart of darkness. In: The Sunday Independent, August 10, 1997: 4.

GILBERT, H. and TOMPKINS, J. 1996. Post-colonial Drama. London: Routledge.

Gilbert S. Singing Against Apartheid: ANC Cultural Groups and the International Anti-Apartheid Struggle. Journal of Southern African Studies [serial online]. June 2007;33(2):421-441.

Gilmore, Wendy 1980. Modern Medici: a look at corporate sponsorship of the arts. Scenaria, (16): 3.

Gilmore, Wendy 1980. Directors at work, no. 2: Leonard Schach. Scenaria, (16): 21-23, 42.

Gillman, H.A. 1947. School drama in the brave new world. J.Soc.Educ. 25(3): 23-25. Kry niks wat klop met die afkorting nie. Is dit ooit SA? Gekry in Repert 1940-49, onderwerp THEATRE.

The Gin game. 1978. Scenaria, (10) : 19.

Glanvill, A. 1988. Drama in the classroom: a lesson for biblican studies. Educamus, 34(2): 19-21. February.

GLASSER, MONA. 1960. King Kong. A Venture in the Theatre. Cape Town: Norman Howell.

Gleuck, Germaine 1984. Standard Bank Festival of the Arts: 10th anniversary celebration. Scenaria, (45): 19—23.

Glueck, G. 1985. Frank Rogaly : South Africa’s ‘Mr Theatre’. Scenaria, (49) : 41-43.

Glueck, Germaine 1986. The Port Elizabeth Opera House : past and present. Scenaria, (62) : 6-11.

Glueck, Germaine 1986. The Port Elizabeth Opera House : the interior. Scenaria, (62) : 16-18.

Gleuck, Germaine 1986a. Dance takes centre spotlight at Grahamstown Festival. [includes mime]. Scenaria, (65): 9-15.

Gleuck, Germaine 1986b. The Port Elizabeth Opera House – past and present. Scenaria, (62): 5-11.

GLOBAL SPOTLIGHT. American Theatre [serial online]. September 2007;24(7):70-71. American Theatre, Sep2007, Vol. 24 Issue 7, p70-71, 2p; Abstract: This article presents reviews of drama festivals around the world including the Witness Hilton Arts Festival at Hilton College in KwaZulu-Natal, South Africa,

GLOBAL SPOTLIGHT. American Theatre [serial online]. July 2009;26(6):56-57.

GLOBAL SPOTLIGHT. American Theatre [serial online]. September 2008;25(7):70-71.

Goddard, Eugene. 2001. Soul-searching for Boetman. In: The Citizen, July 12, 2001: 28.

Goddard, Kevin 2009. Romeo and Juliet, Helen Wilkins: theatre review. Shakespeare in Southern Africa, 21(1): 87-88.

Gomes, L. 1980. Ons klein sterre maak groot geld. Huisgenoot, 140-143. October 9.

Goodall, Sallyann 1979. Theatre workshop: a report on the theatre workshop for Natal schools, organized by SAITT Natal Branch, on 10th Feb. Scenaria, (13): 38.

Goodman, L. 1984. Sholem Aleichem and the Yiddish theatre. Jewish affairs, 39(11): 18-20.

Goodman, Lizbeth 1999. Two conversations with Yvonne Banning about gender and drama in South African theatre during and after Apartheid. Contemporary theatre review, 9(2): 5.

GOODMAN, LIZBETH (Ed) 1999. Women, Politics and Performance in South African Theatre Today 1. Contemporary Theatre Review. An International Journal Volume 9 Part 1. Harwood Academic Publishers.

GOODMAN, LIZBETH. 1994. Teaching feminist theatres: Stages between theory and practice. South African theatre journal, 8(1):3-23

Goodman, Ralph 2002. Fools, Bells and The habit of eating; three satires, by Zakes Mda. Reviewed in: South African theatre journal, 16: 241-243.

Goosen, H. 1985. Bard of the Baakens. South African panorama, 30(9) : 18-23.

Goosen, Helena 1986. Campus theatre ’86. South African panorama, 31(8) : 10-17.

Gorak, Jan 1989. Nothing to root for: Zakes Mda and South African resistance theatre. Theatre journal, 41(4): 478-491.

Gordon R. 2007.Guilty Secrets and Cultural Blind Spots: Miller's Plays in South Africa. Arthur Miller's Global Theater [e-book]. Ann Arbor, MI: U of Michigan P; 2007:66-77.

Gordon-Brown, Claire. 2003. How to survive when the rules of the game change. In: Business Day, September 29, 2003: 6.

Gosher, Sydney Paul 1988. A historical and critical survey of the South African one-act play written in English. Pretoria: UNISA. (D Litt-thesis.) (D Litt dissertation.)

Gouws, John 1990. Foucault and Shakespeare’s pedants, dotards, and drunks. Literator, 11(3): 29-41.

Govender, Kubeshni 1996. Exploring text and con-text: analysis of Ordinary people: the peacemakers (1993); television review. Reviewed in: South African theatre journal. 10(2): 193-199.

GOVENDER, S. 1996. Interculturalism and South African Fusion Dance. Durban: Asoka Publications, University of Durban Westville?*

GOVENDER, S. 1996. Interculturalism and South African Fusion Dance. Durban: Asoka Publications, University of Durban Westville?*

Government White Paper on the creative arts. 1986. Scenaria, (65): 20.

Graham, S. 2005. Private trauma, public drama: Fugard, Kani and Ntshona’s The island and Maponya’s Gangsters. English studies in Africa, 48(1): 107-123.

Graham S. 2007. 'I Was Those Thousands!': Memory, Identity and Space in John Kani's Nothing but the Truth. Theatre Research International [serial online]. March 2007;32(1):68-84.

Graham, Shane 2009. South African literature after the Truth Commission: mapping loss. New York, NY; Palgrave Macmillan.

Grahame, Margot 1947. It’s my ambition to bring six plays to South Africa. Outspan. 42(1082): 31-33. November 21.

Graver, David 1997. Standard Bank National Arts Festival. Theatre journal, 49(1): 56-59.

GRAVER, D. (ed) 1999. Plays for a New South Africa. Bloomington: Indiana University Press.

Graver, David & Kruger, Loren 1989. South Africa’s national theatre: the market or the street?: New theatre quarterly, 19: 272-81.

Graver, David 1995. Theatre in the new South Africa. Performing arts journal, 17(1): 103-109.

Gray, Donald 1946. More theatres needed in South Africa. Outspan. 39(997): 19. April 5.

Gray, Stephen 1977. Our forgotten drama: Stephen Gray looks at the continuity of South African English drama. Speak: critical arts journal. 1(2):13-16; 46-47.

Gray, Stephen 1978. Herman Charles Bosman and Lago Clifford. Africana notes and news, 23: 155-157. December.

Gray, Stephen (ed.) 1978. Theatre one: new South African drama. Johannesburg: Donker

Gray, Stephen 1978. Our forgotten drama. Speak, 1(2): 13-16. March-April.

Gray, Stephen 1979. Southern African Literature. An Introduction. London: David Philip.

Gray, Stephen 1979. Fugard in London. Heresy, 1:33-39.

Gray, Stephen 1980. Athol Fugard’s development: a stocktaking. Theoria, 55: 33-36.

Gray, Stephen (ed.) 1981 Theatre two: new South African drama. Johannesburg: Donker

Gray, Stephen (ed.) 1982. Athol Fugard. Johannesburg, McGraw Hill.

Gray, Stephen (1982). Stephen Black: Three Plays. Johannesburg, Ad Donker.

Gray, Stephen 1982. Southern African Literature. An Introduction. Cape Town, David Philip.

Gray, Stephen 1983. Processing life into words. The notebooks of Athol Fugard. Contrast, 14(3): 81-86.

Gray, Stephen (ed.) 1984a. Market plays. Johannesburg: Donker.

Gray, Stephen. 1984b. South African drama: bedevilling categories: English Academy Review. 2. p.119-125.

Gray, Stephen 1984c. The theatre of Fatima Dike. English Academy review, 2: 55-60.

Gray, Stephen 1985. Desegregating the theatre. Index on censorship, 14(4): 11-14, 17.

Gray, Stephen 1986. A chair called Agamemnon: Athol Fugard’s use of Greek dramatic myths. Standpunte, 39(4): 19-27.

Gray, Stephen 1987. The Breytie Book – A collection of articles on South African theatre, edited by Temple Hauptfleisch. Reviewed in: South African theatre journal,1(2):96-97.

Gray, Stephen 1990. ‘Between me and my country’: Fugard’s My children! My Africa! At the Market theatre, Johannesburg. New theatre quarterly, 6(21): 25-30.

Gray, Stephen 1990. Interview with Geraldine Aron. South African theatre journal, 4(2):30-49.

Gray, Stephen 1990. Women in South African theatre. South African theatre journal, 4(1): 75-87.

Gray, Stehen (comp.) 1991. File on Fugard. London: Methuen Drama.

Gray, Stephen 1993. Problems of compiling a collection of plays of the 1980s. South African theatre journal, 7(2): 63-76.

Gray, Stephen (ed.) 1993. South Africa Plays. London: Nick Hern

Gray, Stephen 1998. Notes on South African and Australian theatre. South African theatre journal, 12(1&2): 172-177.

Gready, Paul 1994. Political autobiography in search of liberation: working class theatre, collaboration and the construction of identity. In: Gunner, Liz (ed.) Politics and performance: theatre, poetry and song in Southern Africa. Johannesburg: Witwatersrand University Press. p. 163-198.

Great prestige project for the province [Transvaal]. 1966. Construction in Southern Africa, 11(2): 27-35.

Greeff, M. 2008. John Vorster se meisiekinders: profiel van twee vroue. Lig, 73(7): 18-21.

Green, Garth V. 1987. Characterization in Pieter-Dirk Uys’ Appassionata. UNISA English studies, 25(2): 18-22.

GREEN, JEFFREY & RYE, HOWARD. 1988. “To the Mother Country”: Jamaican entertainers in Britain, 1906 – 1936. South African theatre journal, V2(2):62-75GREER, ???GRAHAM. 2001. The role of the theatre critic in a post-apartheid South Africa. South African theatre journal, 15: 56-64.

Green, Michael 1984. The politics of loving: Fugard and the metropolis. English Academy review, 2: 41-54.

Green, Robert J.1976. The drama of Athol Fugard. In: Heywood, C (ed.) Aspects of South African literature. London, Heinemann, +p.163-173.

Greer, Graham. 2001. The role of the professional theatre critic in a post-apartheid South Africa. SATJ 15: 56-64.

Greig, Robert J. 1980. To subsidise or not to subsidise? New nation, 9(2): 10-11.

Greig R. 1989. Zap-Pow-Whammee-Glop: Muller's Macbeth. Shakespeare in Southern Africa: Journal of the Shakespeare Society of Southern Africa [serial online]. 1989;3:92-94.

Greig, Robert. 1995a. Theatre of the absurd: how success can narrow profit margins. In: The Sunday Independent, October 1, 1995: 18.

Greig, Robert. 1995b. Bergville Stories evoke complex responses about theatre language. In: The Sunday Independent, November 26, 1995: 21.

Greig, Robert. 1996. Glib judgments on domestic violence betray brilliantly observed characters. In: The Sunday Independent, August 4, 1996: 20.

Greig, Robert. 1997a. Original, radical Ubu manages to find integrity in an artistic minefield. In: The Sunday Independent, August 3, 1997: 14.

Greig, R. (1996) ‘Medea creates a thrilling theatrical language of passion for a new order’. The Sunday Independent, Feb. 4th 1996, p. 21-22

Greig, Robert. 1997b. An intoxicating whiff of the pointedly irrational. In: The Sunday Independent, November 2, 1997: 16.

Greig, Robert. 1998a. Playwright brilliantly fumbles and fondles his way through post-apartheid pathos. In: The Sunday Independent, January 25, 1998: 14.

Greig, Robert. 1998b. Brutal realism of Hola Majita! makes a mockery of prison reform. In: The Sunday Independent, February 1, 1998: 14.

Greig, Robert. 1998c. Slabolepszy makes a bold move, but his nostalgia is overpowering. In: The Sunday Independent, February 15, 1998: 14.

Greig, Robert. 1998d. Civic starts planning life after budget cuts. In: The Sunday Independent, July 5, 1998: 12.

Greig, Robert. 1998e. Too gay for a brutal and forgotten subject. In: The Sunday Independent, September 6, 1998: 13.

Greig, Robert. 1999a. Genre-bending operas breach fresh frontier. In: The Sunday Independent, July 4, 1999: 12.

Greig, Robert. 1999b. As arts migrate to smaller towns, they also enter the global arena. In: The Sunday Independent, September 26, 1999: 11.

Greig, Robert. 2000a. An Afrikaner nationalist now under a new flag. In: The Sunday Independent, April 9, 2000: 12.

Greig, Robert. 2000b. Profound play in which the shoe mostly fits. In: The Sunday Independent, June 4, 2000: 11.

Greig, Robert. 2000c. A fringe of sex, but everyday life at heart. In: The Sunday Independent, July 9, 2000: 12.

Greig, Robert. 2000d. Fanny-in-the-face theatre puts words to taboos lived in silence. In: The Sunday Independent, October 15, 2000: 12.

Greig, Robert. 2001a. Future of state theatres remains uncertain: The government expects the private sector and provinces to chip in. In: The Sunday Independent, April 8, 2001: 10.

Greig, Robert. 2001b. A mountain of South African theatre - One of the most complex and mature plays written in this country in the past two decades, it makes others look infantile. In: The Sunday Independent, April 29, 2001: 21.

Greig, Robert. 2001c. Roll up for a relentlessly feverish vision of Amin’s circus maximus. In: The Sunday Independent, July 8, 2001: 10.

Greig, Robert. 2001d. History brought to life in hard-edged vignettes. In: The Sunday Independent, September 16, 2001: 11.

Greig, Robert. 2002a. How to sweep R24 million under the carpet. In: The Sunday Independent, April 28, 2002: 10.

Greig, Robert. 2002b. Fugard takes a new tack with his latest work. In: The Sunday Independent, July 21, 2002: 11.

Greig, Robert. 2003a. Tribute to pioneering activist Simon Nkoli captures his vitality, wit and endurance. In: The Sunday Independent, April 20, 2003: 11.

Greig, Robert. 2003b. Filling of seats now takes centre stage: Several theatres countrywide are to become state-funded playhouses. In: The Sunday Independent, April 27, 2003: 10.

Greig, Robert. 2003c. Grahamstown monologues. In: The Sunday Independent, July 6, 2003: 10.

Greig, Robert. 2003d. Stripped-down satire weeds out social stereotypes. In: The Sunday Independent, August 17, 2003: 10.

Greig, Robert. 2004. Popular production falls foul of the social engineers. In: The Sunday Independent, February 8, 2004: 11.

Greig, Robert & Peel, Kit. 2000. Is it curtains for the State Theatre? How the sorry story unfolded. In: The Sunday Independent, May 7, 2000: 10.

Greyvenstein, Walter 1988a. The history and development of children's theatre in English in South Africa. Johannesburg: Rand Afrikaans University. (D. Litt. et Phil. thesis).

Greyvenstein, Walter 1988b. Why not play in the classroom? Lyra academica, 3(2): 50-62.

Greyvenstein, Walter 1989a.Theatre and Popular Entertainment in South Africa. In: South African theatre journal, 3(2), September.

Greyvenstein, Walter 1989b. Let us entertain you! children’s theatre and popular entertainment. South African theatre journal, 3(2): 51-68.

Greyvenstein, Walter 1989c. Players, a collection of one-act plays, edited by Temple Hauptfleisch & Ted Townsend. Reviewed in: South African theatre journal, 3(1): 103-104.

Greyvenstein, Walter 1990. Drama as a method for teahers of English. Crux, 24(4): 24-51.

Greyvenstein, Walter 1994. Playwrights and human rights by Paddy Terry & Herman Kotze. Reviewed in: South African theatre journal, 8(1): 93-96.

Greyvensteyn, Z. 1980a. Dawie Malan – a profile. Scenaria, (18): 26-27.

Greyvensteyn, Z. 1980b. Siegfried Mynhardt: a profile. Scenaria, (17): 17-18.

Griebenow, Francois. 2000. Boetman-volksdrama. In: Beeld, May 30, 2000: 11.

Griffin, Jennifer 1992. John Kani: reading the troubled landscape of South Africa. American theatre, 9(8): 26-27.

Griffin, Jennifer 1993. Paul Slabolepszy: coming of age in the cradle of apartheid. American theatre, 10(9): 47-48.

Grimbeek, D. 1977. Opvoedkundige waarde van toneelspel. Rehabilitation in South Africa, 21:59060. October.

Grobbelaar, Michal 1952. Beligting vir die toneel. Helikon, 1(4): 99-102.

Grobbelaar, Michal 1960. Suidwes toe! [Nasionale toneelgroep besoek S.W.A.] Brandwag, 14(43): 17. November 24.

Grobbelaar, Michal et al. (eds.) 1962. The Johannesburg Civic Theatre/ Die Johannesburgse Stadskouburg. Johannesburg: Johannesburg Civic Theatre.

Grobbelaar, Michal 1971. Ontwikkeling van die Afrikaanse toneel 1832-1950, deur L.W.B. Binge. Reviewed in Tydskrif vir geesteswetenskappe, 11(1): 66-67.

Grobbelaar, Michal 1986. Die uitvoerende kunste. Lantern, 35(4) : 67-69.

Grobbelaar, Michal 1985. Die Breytenbach-skouburg. In: Temple Hauptfleisch (ed) The Breytie Book. Johannesburg: The Limelight Press. p. 73-77.

Grobler, E.E. 1998. Teater en terapie: ‘n teaterwetenskaplike ondersoek. Stellenbosch: Universiteit van Stellenbosch. (M Dram thesis).

Grobler, Esmé 1990. Varieties of dramatic dialogue. South African theatre journal, 4(1): 38-60.

Grobler, H. 1976. Rebellie van Lafras Verwey [by] Chris Barnard. [Literary criticism]. Klasgids, 11(1): 23-30. March.

Grobler, H.B. 1971. Algemene verligting van ‘n teater vir die uitvoerende kunste. Tegnikon, 20(4): 23-28. December.

Grobler, Hilda 1989. Realiteit van die spel of spel van die realiteit? Kanttekeninge by Pieter Fourie se drama Ek, Anna van Wyk. Stilet, 1(2): 89-95.

Grobler, H. 1993. The kitchen as battlefield – with special reference to the award winning play Kitchen blues by Jeanne Goosen. Journal of literary studies, 9(1): 50-56.

GROBLER, M. 2002. Die Toneelstuk van Breyten Breytenbach as die oorlogmasjien. Fragmente. No 9:73-87.

Groenewald, H.C. 1977. Struktuurbeskrywing van die historiese drama in Zulu. Limi, 5(1-2): 48-66.

Groenewald, H.C. 1981. Aspekte van drama met besondere verwysing na die Zulu-drama. Suid-Afrikaanse tydskrif vir Afrikatale, suppl 1: 12-42.

Groenewald, H.C. 1989. Insumansumane: Zondi’s scenario for today. South African journal of African languages, 9(1): 6-13.

Groenewald, H.C. 2000. A little space in history: some historical perspectives on Zulu theatre. South African theatre journal,14: 114-128.

Groenewald, H.C. 2001. The immoral subject: The moral play in Zulu. South African theatre journal,15: 65-76

Groenewald, H.C. 2002. A little space in history – some historical perspectives on Zulu theatre. South African theatre journal, 16: 30-43.

Groenewald, H.C. 1990. Oral Studies in South Africa. Pretoria: HSRC.

Groenewald, H.H.A. 1983. Huisvesting vir die toneelteater. Teaterforum, 4(1): 44-53.

Groenewald, Manie 1983. Huisvesting vir die toneelteater. Teaterforum, 4(1): 44-53.

Grondwet van die Assosiasie van dramadepartemente van Suid-Afrika (ADDSA). Teaterforum, 5(1): 115-123.

GROOM, WILLIAM. 1899. Drama in Cape Town. Cape illustrated magazine. 10(4): 478-481, 517-520, 547-552, 580-584, 640-643, 670-672, 706-708.

Groot geeste van Suid-Afrika: André Huguenet bouer van ons toneelkuns. 1951. Lantern, 1: 384-386.

Gross, Kenneth & Katz, Leslie 1995. Pinokio. South African theatre journal, 9(1):69-77.

Grotowski, Jerzy. 1969. Towards a poor theatre. London, Methuen.

GRUNDY, K. 1993. The Politics of the National Arts Festival. Occasional Paper No 34. Grahamstown: Rhodes University Institute for Social and Economic Research.

Grundy, Kenneth 1994. Quasi-state censorship in South Africa: the performing arts councils and polticized theatre. Journal of arts management, law and society, 24(3): 241-257.

GRUT, MARINA. 1981. The History of Ballet in South Africa. Cape Town: Human and Rousseau.

Guillemaut, Alf 1996. Market theatret. ProScen, 20(4): 6-11.

Guillemaut, Alf 1997. Tarzan – en teaterarbetare med rätt att fixa. [Tarzan – a theatre-worker with license to fix]. ProSen, 21(2) : 9-11.

Guldimann, Colette 1996. The (black) male gaze: Mbongeni Ngema’s Sarafina! South African theatre journal, 10(2): 85-99

Gunner, L. (ed.). 1994. Politics and Performance: Theatre, Poetry and Song in South Africa. Johannesburg: Witwatersrand University Press.

GUNNER, LIZ (Ed.). 1994. Politics and Performance: Theatre, Poetry and Song in South Africa. Johannesburg: Witwatersrand University Press.. kyk inhoudsopgawe, uitgeleen tot 27 Jan 2010.

Gunner L. Supping with the Devil: Zulu Radio Drama under Apartheid—The Case of Alexius Buthelezi. Social Identities [serial online]. March 2005;11(2):161-169.

Gurtin, W. 1950. Lecture on drama. Farmer, 39(15): 22. April 14.

Gussow, Mel. 1982. Profile: Witness (Athol Fugard). New Yorker 20 Dec, pp.47-94.

Gutsche, Thelma 1940a. Afrikaans theatre. Forum. 3(25): 17. September 14.

Gutsche, Thelma 1940b. Afrikaans theatre. Forum. 3(27): 17. September 28.

Gutsche, Thelma 1940c. Effects of the war. Forum.3(35): 17. November 23.

Gutsche, Thelma 1940d. Leontine Sagan continues to make bricks without straw. Forum. 3(38): 18-19. December 14.

Gutsche, Thelma 1940e. Renaissance of theatre in South Africa. [Dwen Ffrangcon-Davies in Major Barbara produced by Leontine Sagan]. Forum. 3(29): 17. October 12.

Gutsche, Thelma 1940f. Shakespeare [Twelfth night] captivates public: amateurs rise to histrionic heights. Forum. 3(38): 18. December 14.

Gutsche, Thelma 1940g. Theatre left to languish [for want of theatres]. Forum. 3(32): 17. November 2.

Gutsche, Thelma 1940h. Two important arrivals for the stage [Henry Mollison and Lina Basquette in Private lives]. Forum. 2(48): 19.February 24.

Gutsche, Thelma 1940i. War and amateur theatricals. [Group theatre, Johannesburg repertory players]. Forum. 2(47): 22. February 17.

Gutsche, Thelma 1941a. Army entertainment. Forum. 4(39): 17. December 27.

Gutsche, Thelma 1941b. Audiences applaud “Puppet’s party” by M. Mason. Forum. 4(33): 18. November 15.

Gutsche, Thelma 1941c. Children take the stage [Alice in Wonderland]/ Forum.4(38): 18. December 20.

Gutsche, Thelma 1941d. End of a tour. Forum. 4(31)18. November 1.

Gutsche, Thelma 1941e. New shows and a new theatre. Forum.4(32):18. November 8.

Gutsche, Thelma 1942a. Afrikaans drama. Forum. 4(40):18. January 3.

Gutsche, Thelma. 1942b. Afrikaans stage production receives a beneficial opportunity. Forum. 4(45): 19. February 7.

Gutsche, Thelma 1946. The English speaking theatre in South Africa. In : South African panorama : introducing South Africa, her art, culture, and peoples. Johannesburg : Literary Guild. 21ff.

Gutsche, Thelma 1947. Hamlet produced in Afrikaans. Outspan. 41(1057): 26-27. March 30.

Gutsche, Thelma 1970. Theatrical history. Standard encyclopedia of South Africa, 10: 475-481. Cape Town: Nasou.

Gutsche, Thelma 1972a. The history and social significance of motion pictures in South Africa, 1895-1940. Cape Town: Timmins.

Gutsche, Thelma 1972b. Theatrical History. Vaudeville and Music-hall. In: Standard Encyclopaedia of Southern Africa. Cape Town : NASOU.

Gutsche, Thelma. 1973. Survey. In Lennox-Short, Alan English and South Africa. Cape Town: Nasou. P. 83-85.

GWALA, M. 1974. (ed) Black Review 1973. Durban: Black Community Programmes.

Gwala, M.P. 1973. Towards a national theatre. South African outlook. 103: 131-133.



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