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| − | ='''ESAT: The Encyclopaedia of South African Theatre, Film, Media and Performance'''=
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| − | Originally conceived and founded by [[Temple Hauptfleisch]], [[ESAT]] is an online, open access, digital reference work, the result of a national research programme, involving a large number of voluntary writers, researcher, editors and technical supporters.
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| | + | <big>'''''[[ESAT]]''''': '''''[[The Encyclopaedia of South African Theatre, Film, Media and Performance]] '''''</big> |
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| − | == The Editorial Team ==
| + | An [[Open access|open-access]], online record of theatre, film, media and performance in South Africa — its history, forms, people and places. |
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| − | '''Founder and project director''': [[Temple Hauptfleisch]] | + | ''Founding editor: [[Temple Hauptfleisch]]. A project of the [[University of Stellenbosch]] Drama Department.'' |
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| − | '''Editors - South African Theatre and Performance''': [[Temple Hauptfleisch]] | + | ''Current editors [[Temple Hauptfleisch]] and [[Annel Pieterse]]'' |
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| − | '''Editor - South African Film''': [[Freddy Ogterop]]
| + | ---- |
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| − | '''Editor - South African Radio''': | + | ''<small>This page last updated on 18 August 2026.</small>'' |
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| − | '''Editor - South African Television''':
| + | == Start here == |
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| − | '''Editor - Cumulative Bibliography''': [[Miriam Terblanche]] | + | * '''[[The ESAT Entries|Browse all entries]]''' — over 25,500 entries, grouped into sixteen categories. |
| | + | * '''Search''' — use the search box at the top right of the page (or press Alt+F) to jump straight to a person, play, venue or company. |
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| − | == Planning Committees and Research Support ==
| + | ''The encyclopaedia holds over 25,500 full entries. Since its launch in 2011 the main page has been viewed over 2.5 million times, and all its articles over 140 million times.'' |
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| | + | == What's New? == |
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| − | ''Original Project Planning Committee (1990-1994)'' | + | '''August 2026''' |
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| − | [[Temple Hauptfleisch]], [[Yvette Hutchison]], [[Edwin Hees]], [[Arnold Blumer]].
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| − | ''Digital Planning Committee (2010-2013)'' | + | '''''Staff news:''''' On 17 August, 2026, [[ESAT]] contributor Dr [[Annel Pieterse Roux]] joined the management team as co-project-leader and co-editor of the encyclopaedia. |
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| − | [[Temple Hauptfleisch]], [[Ina Smith]], [[Hilton Gibson]], [[Miriam Terblanche]].
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| − | '''Research Assistants to the project leader (since 1989)''' | + | '''''New entries: |
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| − | [[Felicity Grové]], [[Abduragman Adams]], [[J-P de Rosnay]], [[Gaerin Hauptfleisch]], [[Karina Hauptfleisch]], [[Yvette Hutchison]], [[Anja Huismans]], [[Miemie Neethling]], [[Petrus du Preez]], [[Rebecca Smart]], [[Miriam Terblanche]] and [[Hannah Borthwick]].
| + | '''Namaqualand on stage, the radio drama of Lee Doubell, and the 1970s touring repertoire''''' |
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| | + | More than fifty new entries have been added since mid-July, alongside substantial expansions to several existing articles. The period's work falls into three large clusters — a contemporary [[Afrikaans]] playwright documented with her full oeuvre, a body of Afrikaans radio drama, and the reconstruction of a 1970s touring company — with further additions in dance history, cinema history and screen biography. |
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| − | == Contributing Authors ==
| + | The largest single body of new material documents [[Dianne du Toit Albertze]] (19**-), a playwright, novelist, actress, director and arts journalist whose [[Afrikaans]] work draws on her native [[Namaqualand]] and on trans and queer material. Eight of her works now have entries: ''[[Bottelnek breek bek|bottelnek breek bek]]'', which she adapted from her own novel of the same title; ''[[Klip Kween]]'', about a young transgender woman who returns to her birthplace; ''[[Huis van sand]]'', set in a caravan park outside Springbok; ''[[Kaap]]'', which engages the sound, colour and colonial history of Cape Town; the one-performer tragicomedy ''[[Katrina Kakkerlak]]''; the twenty-minute one-woman drama ''[[Die meermin-kompleks]]''; ''[[Kommapunt]]'', a devised piece on depression assembled from poems and prose; and ''[[’n Kraai song]]''. The cluster is anchored by a substantial new contextual entry on [[Namaqualand]] — the Afrikaans '''Namakwaland''', historically also '''Little Namaqualand''' or '''Klein-Namakwaland''', as distinguished from Great Namaqualand north of the Orange River — the longest addition of the period, and a rare instance of a geographical entry created to serve a body of dramatic work. |
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| − | (Their affiliation at the time of writing) and [abbreviations used in text]
| + | [[ESAT]]'s coverage of [[Afrikaans]] [[radio drama]] has been significantly strengthened following the death of the writer [[Lee Doubell]] (1958*-2026). Six of his radio works now have entries: the serials ''[[Tien Dae]]'' and ''[[Sestig Dae]]'', and the dramas ''[[Krag]]'', ''[[Koue Kaiings]]'', ''[[Sou die Sterre Luister]]'' and ''[[Wild en Woeker]]''. |
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| − | [[Arnold Blumer]] (University of Stellenbosch) [AB]; [[Hannah Borthwick]] (University of Stellenbosch) [HB]; [[P.J. Conradie]] (University of Stellenbosch) [PC]; [[Eben Cruywagen]] (SABC) [EC]; [[J-P de Rosnay]] (University of Stellenbosch) [J-P]; [[Floyed de Vaal]] (University of Stellenbosch) [FdV]; [[Petrus du Preez]] (University of Stellenbosch) [PDP]; [[Julius Eichbaum]] (Scenario Magazine) [JE]; [[Ian Ferguson]] (University of South Africa) [IF]; [[Jill Fletcher]] (Cape Town) [JF]; [[Gaerin Hauptfleisch]] (University of Stellenbosch) [GH]; [[Temple Hauptfleisch]] (University of Stellenbosch) [TH]; [[Edwin Hees]] (University of Stellenbosch) [EH]; [[Stephanie Hough]] (Stellenbosch) [SH]; [[Johan Hugo]] (University of Stellenbosch) [JH]; [[Yvette Hutchison]] (Universities of Warwick UK and Stellenbosch) [YH]; [[Enock James]] (University of Stellenbosch) [EJ]; [[Marie Kruger]] (University of Stellenbosch) [MK]; [[Mervyn McMurtry]] (University of Natal, Durban) [McM]; [[Miemie Neethling]] (University of Stellenbosch) [MN]; [Miriam Terblanche]] (University of Stellenbosch) [MT]; [[NELM]], Grahamstown [NELM]; [[Steve Ntsane]] (University of Stellenbosch) [SN]; [[Louw Odendaal]] (University of Pretoria) [LO]; [[Freddy Ogterop]] (Independent researcher)[FO]; [[Dennis Schauffer]] (University of Durban-Westville) [DS]; [[Rebecca Smart]] (University of Stellenbosch) [RS]; [[Johann van Heerden]] [JvH]; [[Hilda van Lill]] (University of Stellenbosch [HvL]; [[Nthombifuthi Vezi]] (University of Zululand) [NV]; [[Anton Welman]] (University of the Free State) [AW]; [[Elma Young]] (Pretoria) [EY]; | + | A third cluster reconstructs [[Theatre Roundabout]] through its people and its repertoire. Nine plays from the company's mid-1970s touring seasons have been added, most of them by [[Brian Darnley]] — ''[[When the World Was Very Young]]'', ''[[The Lost Laugh]]'', ''[[The Music Makers]]'', ''[[Grinappy]]'', ''[[The Carton of Oon]]'', ''[[The 1820 Settlers]]'', ''[[STOP!]]'' and ''[[Oodles]]'' — together with ''[[The Baron Returns]]'' by [[Roger Holt]]. Company members [[Lea Hodgekinson]], [[Ann Larson]], [[Julius Exter]], [[Walter Tamsen]], [[David Chambers]], [[Stephen Scott]] and [[Christopher Voysey]] have been documented for the first time. |
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| − | ==Technical support==
| + | Further [[Afrikaans]] stage work has been added: ''[[Diva]]'', the solo cabaret-theatre piece written and performed by [[Amanda Strydom]]; ''[[Oupa en Ouma]]'' by [[Leon Kruger]], on a couple married more than forty years; ''[[Seks in die suburbs]]'' by [[Francois Toerien]]; ''[[Die dinges is 'n watsem – Jan Spies kom tot verhaal]]'' by [[Johan Engelbrecht]]; the Afrikaans ''[[Dinsdae by Morrie]]'', from the play by Jeffrey Hatcher and Mitch Albom; and ''[[Duiwelsbrood]]'' by [[Annelie Botes]], staged in 2026 by [[ATKV-tak PEAAT]] at the [[Isithatha Theatre]]. The singer, director, producer and arts manager [[Niël Rademan]] (19**-), who works across cabaret, art song, folk music and music theatre, has also been documented. |
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| − | ''Technical advisors to the project'':
| + | South African dance history gains an institutional lineage: [[Joburg Ballet]], formed by the 2012 merger of [[South African Ballet Theatre]] and [[Mzansi Productions]] (2006-2012), the latter founded by [[Dirk Badenhorst]], who now has his own entry; and the [[South African Academy of Drama and Ballet]], formerly affiliated to the [[University of Natal]]. |
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| − | On the Access-programme originally used: | + | Venue and cinema history is represented by two East London (now KuGompo City) houses — the [[20th Century Cinema Theatre]] in Fleet Street, which seated 800 on a single air-conditioned floor, and the [[Springbok Cinema]], established before the Second World War by the Layden brothers — while [[Apollo Theatre]] now disambiguates venues in Germiston and Victoria West. New personality entries include the singer-songwriter [[Jonathan Butler]] (1961-), born in Athlone; the singer [[Ronald Joyce]] (?-2013), known initially as [[Little Ronnie Joyce]] and also raised in Athlone; the actress, director and teacher [[Gladys Lazarus]]; and the costumier, stage and publicity manager and performer [[Michael de Beer]] (1951-). On the screen side, ''[[Lied in My Hart]]'', the Afrikaans musical film by [[Ivan Hall]] also known as ''[[Song in My Heart]]'', has been documented. |
| − | Petra Malherbe & Information Technology, University of Stellenbosch
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| − | ''Technical advisors on the Wiki-programme'' now being used: | + | Among expansions, the Makhanda material has been substantially reworked. The entry on [[Andrew Buckland]] has been enlarged across its actor, playwright, solo performer and director sections, with linked updates to ''[[The Well Being]]'', ''[[Feedback]]'', the [[Rhodes University Drama Department]] and the [[Ubom! Eastern Cape Drama Company]]. [[Anton Calitz]] has been expanded and his cabaret ''[[Dead Slugs and Strawberries]]'' added. ''[[My Plaas se Naam is Vergenoeg]]'' has been considerably enlarged, with a corresponding update to [[Vergenoeg]]. Finally, the [[Andre Huguenet Memorial Lecture]], started by the [[Port Elizabeth Shakespearean Festival]], now has an entry listing its guest lecturers. |
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| − | [[Hilton Gibson]] and Tammy Bekker
| + | '''July 2026 — New entries: contemporary performance-makers and the Woordfees drama archive''' |
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| − | ''Web publisher'':
| + | More than 70 new entries have been added to ESAT over recent weeks, with a strong focus on contemporary South African performance. |
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| − | [[University of Stellenbosch]], South Africa and the [[Libopedia]] project of the University of Stellenbosch Library Services[http://wiki.lib.sun.ac.za/index.php/Libopedia:About] | + | A group of entries documents the Johannesburg live-arts world of [[Jefferson Tshabalala|Jefferson Tshabalala ("J. Bobs")]] — his production house [[Kiri Pink Nob|Kiri Pink Nob Arts]] and his works ''[[Khongolose Khommanding Khommissars]]'', ''[[Ekasi Lam]]'' and the game-show series ''[[J.Bobs Live]]'' — alongside the collaborative duo [[Theatre Duo]] ([[Billy Langa]] and [[Mahlatsi Mokgonyana]]) and the award-winning Afrikaans production house [[Polony]]. The poet-performer [[Kgafela oa Magogodi]] has also been documented for the first time. |
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| − | ''Editorial offices'': | + | New play and company entries include the dark comedy ''[[Amper, Vrystaat]]'' by [[Nico Scheepers]], the one-man music-theatre piece ''[[Ek is nie Danie]]'' by [[Danie Marais]], the Cape Town company [[Spark in the Dark]], and a run of Afrikaans works and translations such as ''[[Skeer op Richmond]]'' ([[Saartjie Botha]]), ''[[Bullets over Bishop Lavis]]'' ([[Christo Davids]] and [[Jody Abrahams]]), ''[[Skop]]'', ''[[Grieta kry geleerdheid]]'', ''[['n Lewe in die Teater]]'' and ''[[Voor ek vergeet]]''. |
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| − | [[University of Stellenbosch, Department of Drama]], Private Bag X1 Stellenbosch 7602 | + | On the festival side, the [[Sanlam Dramafees]] — the former sponsor-branded name of the [[Woordfees|US Woordfees]] drama programme in Stellenbosch, used in the early 2010s and later renamed the Toneelfees — now has an entry, together with the first production write-ups from the 2010 festival: ''[[Maskermaan]]'' by [[Cecilia du Toit]], ''[[Suurgat II]]'' by [[Leon Kruger]], ''[[Daan de Wet hou sy oog op die bal]]'' by [[Gaerin Hauptfleisch]], and ''[['n Koeksister vir Zuma]]'', [[Pieter-Dirk Uys]]'s satirical solo turn as [[Evita Bezuidenhout]]. A new overview entry on [[South African sketch comedy]] traces the form's local history. |
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| − | =Using ESAT=
| + | New reference and screen-history entries include the documentary filmmaker [[Michael Duffett]] (1956–2021) and the film ''[[The Gods Must Be Crazy]]'' (1980); the bilingual essay collection ''[[Die Breytie-Boek/The Breytie Book]]'', dedicated to [[P.P.B. Breytenbach]]; the cabaret ''[[Die Siel van Eugene Marais]]'' by [[Amanda Bothma]]; and J.M. Barrie's classic ''[[Peter Pan; or, The Boy Who Wouldn't Grow Up]]''. |
| | + | Browse all new additions via [[Special:NewPages|recent additions]] or explore the full encyclopaedia at [[The ESAT Entries]]. |
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| − | While [[ESAT]] uses the [[Wiki]] programme and does make provision for a '''''search''''' function, the database has also been constructed rather more traditionally, like a printed encyclopaedia, with an index to the various entries (called [[The ESAT Entries]], see below) The entries have been grouped in '''fifteen''' distinct categories, managed and edited by one of the research editors.
| + | '''June 2026 — New entries: people, plays, companies and venues''' |
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| − | To access database material on the relevant category, the reader has two options:
| + | Fifty new entries have been added to ESAT this month, spanning four centuries of South African theatre history. |
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| − | == To use the '''Search''' function ==
| + | Among the new personality entries, [[Pieter Madibuseng Odendaal]] is a bilingual Afrikaans and English poet, playwright and educator whose multilingual drama ''[[Droomwerk]]'' won the 2021 [[ATKV-Woordveertjie]] and was nominated for the [[Hertzog Prize]]. [[Adrian van Wyk]], who has also performed as "Diff", is a Cape Town–based performance poet, filmmaker and cultural historian, documented here for the first time. Two historical figures have also been added: [[Vivienne Adley]], a Durban-born singer and actress who performed widely in the mid-twentieth century; and [[Thomas Barrow-Dowling]] (1861–1926), a British-born organist and choirmaster who made a significant contribution to musical life in South Africa. |
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| − | Go to the ''Search'' block at the top right of this page (or type: Alt+F) and type in the search word/phrase.
| + | On the plays side, ''[[The Scarlet Pimpernel]]'', the 1903 adventure drama by Baroness Orczy, and ''[[The Prisoner of Zenda]]'', Edward Rose's 1895 adaptation of Anthony Hope's novel, both have new entries documenting their South African performance histories. New SA work is represented by ''[[What the Water Remembers]]'', a collaboratively created multilingual spoken-word production, and ''[[Droomwerk]]'', noted above. |
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| − | == To use the '''[[The ESAT Entries|Index]]''' ==
| + | Two companies have been added. [[Wela Kapela Productions]], founded in 2018 by [[Amanda Bothma]], is a contemporary touring production company. At the other end of the timeline, [[Morgan and Wheatman's English Pantomime Company]] was a British touring company that brought pantomime to South African audiences in the late nineteenth century. The [[Carlton Theatre]] in Johannesburg, which opened in September 1912 in the same block as the original Carlton Hotel, has also been documented for the first time as a venue entry. |
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| − | Go to '''[[The ESAT Entries]]''' (the next section, below) and click on the appropriate link , then follow instructions on the landing page.
| + | Browse all new additions via [[Special:NewPages|recent additions]] or explore the full encyclopaedia at [[The ESAT Entries]]. |
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| − | ''For more detailed information on using the website, '''go to [[Guide to using ESAT]]''' (by clicking on the phrase).'' | + | '''May 2026 — New contributors''' |
| | + | : Volunteers [[Martin Botha]], [[Riaan Oppelt]], [[Annel Pieterse]] and [[Kevin Turner]] have joined the editorial team. See [[Contributing to ESAT]] to find out how to help. |
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| − | ''If you want to know more about the project before using the website, go to the entry on the [[Encyclopaedia of South African Theatre, Film, Media and Performance]], or read the section entitled '''About ESAT''' below.'' | + | '''May 2025 — The ESAT archive finds a home''' |
| | + | : ESAT's growing collection of programmes, posters, photographs and texts is now held in the [[Performing Arts Research Collection]] (PARC), established in 2025 at the [[Africa Open Institute]], [[University of Stellenbosch]], with the help of Prof [[Stephanus Muller]]. [[Esther Marie Pauw]] was appointed as its first administrator. |
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| − | = '''[[The ESAT Entries]]''' =
| + | '''March 2025 — ESAT recognised at the [[Fleur du Cap]] Theatre Awards''' |
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| + | : At the 60th [[Fleur du Cap Theatre Awards]], founding editor [[Temple Hauptfleisch]] received the Lifetime Achievement Award for his career documenting South African theatre and for establishing ESAT. |
| − | The entries for [[ESAT]] have been grouped in '''fifteen''' categories, managed and edited by one of the research editors. To access database material on the relevant category, click on the appropriate link below.
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| + | == About the encyclopaedia == |
| − | #[[South African Theatre/Overview|South African Theatre and Performance/Overview]]
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| − | #[[South African Film/Overview]]
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| − | #[[South African Media/Overview]]
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| − | #[[The South African Context/General Terminology and Thematic Entries]]
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| − | #[[South African Theatre/Terminology and Thematic Entries]]
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| − | #[[South African Film /Terminology and Thematic Entries]]
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| − | #[[South African Media/Terminology and Thematic Entries]]
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| − | #[[South African Personalities]]
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| − | #[[South African Venues, Companies, Societies, etc ]]
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| − | #[[South_African_Films]]
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| − | #[[South_African_Theatre/Plays|South African Stage Plays]]
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| − | #[[South_African_Radio/Plays|South African Radio Plays and Serials]]
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| − | #[[South_African_Television/Plays|South African Television Plays and Series]]
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| − | #[[ESAT Chronology|A Chronology of South African Theatre, Film, Media and Performance]]
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| − | #[[ESAT Bibliography|A Bibliography of South African South African Theatre, Film, Media and Performance]]
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| − | = About ESAT =
| + | ''[[ESAT]]'' documents the evolution, history and forms of theatre, film, media and performance in South Africa, and originated from historical research undertaken by the [[Centre for South African Theatre Research]] at the [[Human Sciences Research Council]] between 1979 and 1987 and continued at the [[University of Stellenbosch]] from 1988 to 2010. The website finally opened to the public online in 2011. |
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| − | == Introduction ==
| + | An open access project, it is edited by a team of research editors and written by contributors around the world. Though using the [[Wiki]] programme for the website, it has, from the start, deliberately been conceived and structured like a printed encyclopaedia, with an index of entries grouped into sixteen categories to facilitate its role as a basic research tool. |
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| | + | Please note that [[ESAT]] was founded in 2010 with its main focus then conceived to be on pre-21st-century theatre, film, media and performance. However, we are very aware that we are now well into the 21st century and that [[ESAT]] will always remain a work in progress. So, though the encyclopaedia will always be incomplete and subject to occasional error, it is the aim of the contyributors to keep it as up to date and relevant as we can make it, with the help of our readers. |
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| − | '''ESAT: The Encyclopaedia of South African Theatre, Film, Media and Performance''' is an open access, internet based interactive resource for researchers interested in the evolution, history and forms of performance and media in South Africa. Deriving from the University of Stellenbosch's [[Libopedia]][http://wiki.lib.sun.ac.za/index.php/Libopedia:About]
| + | For the full history and aims of the project, and list of editors, see '''[[About ESAT]]'''. |
| − | project, it uses the [[Wiki]] format and programmes and is published on the web with the assistance of the [[University of Stellenbosch, Department of Drama|Drama Department]] (http://www.sun.ac.za/drama) and its former [[Centre for Theatre and Performance Studies]], the [[J.S. Gericke Library]] and the division for Information Technology at the [[University of Stellenbosch]] (http://www.sun.ac.za/index.asp) | |
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| − | This work is based on research supported by the [[National Research Foundation]]. However, any opinion, finding and conclusion or recommendation expressed in this material is that of the authors and the [[NRF]] does not accept any liability in this regard.
| + | == Finding your way around == |
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| − | == Aims of ESAT ==
| + | ; Search |
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| + | : Type a name, title or keyword into the search box (top right, or Alt+F) and press Enter. |
| − | The key aim of the [[ESAT]] encyclopaedia[http://en.wikipedia.org/wiki/Encyclopedia] is to create a comprehensive online database on the history and nature of [[South African]] [[performance]], including [[theatre]], [[drama]], [[radio drama]] and [[Television drama|TV drama]], [[film]], [[dance]], [[puppetry]], [[circus]], [[oral performance]] and similar forms, and to make it available as a general reference work and resource for the use of researchers, students, artists, journalist and all other interested parties.
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| − | The general aim is rather to condense and collate available information on all South African theatre, film, media and performance forms (as far as they have been documented) in one place and in a handy and accessible digital format, than to undertake any comprehensive ''new'' research. Happily a great deal of little known and/or forgotten information has in fact come to the fore during the course of this project, and can be made available, though that was not the fundamental aim of this first version of [[ESAT]].
| + | ; Browse the index |
| | + | : Go to [[The ESAT Entries]] for the full list of sixteen categories, each managed by a research editor. |
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| | + | ; Follow the links |
| | + | : Links shown in red mark entries not yet written. Click one, then choose "What links here" under Tools to find related mentions elsewhere in the encyclopaedia. |
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| − | This first version of the encyclopaedia was originally intended to be a published mini-encyclopaedia and reference work called A [[Companion to South African Theatre and Performance]] ([[COMSAT]]) and is derived from a database collated by [[Temple Hauptfleisch]] and the [[Centre for Theatre and Performance Studies]] (CENTAPS)at Stellenbosch (with the help of a large number of associates and assistants) over the course of twenty years (1990-2010) (For more on this see [[Background, origins and history]]) and the lists of Contributors above and the Acknowledgements that follow below.
| + | '''Good to know:''' ESAT focuses on [[The main focus is on pre-21st-century theatre, film, media and performance|pre-21st-century performance]], is [[It is work in progress and thus subject to error on occasion|a work in progress]], follows a [[Policy regarding offensive language and terminology|policy on historical and offensive terminology]], and [[ESAT is not an archival facility|is not itself an archival facility]]. |
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| | + | == Contributing to ESAT == |
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| | + | ESAT is always growing, and all researchers, artists and interested readers are welcome to help expand, correct and update it. To find out how, see '''[[Contributing to ESAT]]'''. |
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| − | The encylopaedia's editors invite the academic and artistic community to help in expanding and improving on this material in order to make which would make the results of academic and other research more readily accessible to the general reader and the theatre enthusiast. (For more on this see Updating ESAT.)
| + | == Copyright and referencing == |
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| − | =Acknowledgements=
| + | ESAT is an [[Open access|open-access]] publication. Although its content is [[Copyright|copyrighted]] to ESAT and the [[University of Stellenbosch]], it may be freely used for academic and artistic purposes, provided the use is clearly referenced and attributed to the ''Encyclopaedia of South African Theatre, Film, Media and Performance'' (ESAT), including the URL of the entry used. |
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| − | We would like to thank all the following for their support of the [[ESAT]] project.
| + | == Contact the editors == |
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| − | == Financial and institutional support ==
| + | '''Postal''': The Editors: [[ESAT]], Department of Drama, [[University of Stellenbosch]], Private Bag X1, Matieland 7602, South Africa. |
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| | + | '''E-mail''': satj@sun.ac.za ([[Temple Hauptfleisch]]) or annelp@sun.ac.za ([[Annel Pieterse Roux]]) |
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| − | [[ESAT]] is an ongoing and constantly expanding research and documentation project, first conceived and planned in general terms while the project leader was head of the [[Centre for South African Theatre Research|Centre for South African Theatre Research (CESAT)]]) at the [[Human Sciences Research Council (HSRC)]] (1979-1987). However it was only formally initiated in 1994 as A [[Companion to South African Theatre and Performance]] (COMSAT), when he founded the [[Centre for Theatre and Performance Studies]] at the [[University of Stellenbosch]].
| + | '''Fax''': +27 21 882 9141 |
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| − | Besides benefitting from the institutional support of the various institutions where the project leader has been employed - The [[Human Sciences Research Council]] and the [[University of Stellenbosch]], (see **), the project has also been supported financially over the years by means of a number of larger grants from a number of sources, among which the [[Centre for Science Development (CSD)]] of the [[Human Sciences Research Council (HSRC)]], the [[National Research Foundation (NRF)]], and the Research Fund at the [[University of Stellenbosch]]. A particular word of thanks goes to the [[National Research Foundation (NRF)]] of South Africa for two 5 year grants to the Project Leader for the finalization of the project (2008-2012, 2013-2017), under its Incentive Funding Programme for rated researchers.
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| − | The project leader and his team would like to thank all these institutions for their wonderful support. In addition they would also like to thank the various Deans of Arts and Directors of Research and their staff, the Research Committee of the University of Stellenbosch and the Advisory Committee of the [[Centre for Theatre and Performance Studies]] for their belief in the project.
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| − | '''PLEASE NOTE''': | |
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| − | ''The results and opinions expressed in this publication are those of the '''individual authors''' and in no way reflect the opinions of the [[Centre for Theatre and Performance Studies]], the [[National Research Foundation]] or the [[University of Stellenbosch]].''
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| − | == Individuals ==
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| − | Besides the funding and support of institutions, the COMSAT/ESAT research project - like any encyclopaedic project - has always been dependent on the help and support of a great number of individuals. The prime source of material has thus always been the largely voluntary contributing authors who supplied us with information and entries. Quite rightly their names are listed as part of the research team and I would like to acknowledge that support here and thank each and every one of them heartily for it. (See the list of "[[The Research Team and Contributors]]" above)
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| − | The fact is, the database is the result of a long cherished dream of mine, sparked by my years as head of the national documentation centre on the performing arts ([[CESAT]], 1979-1987)and finally initiated in 1994 as a project of the [[Centre for Theatre and Performance Studies]] at the [[University of Stellenbosch]]. Over the years I have been supported by many advisors and contributors, who helped us gather and process this huge amount of divergent information. Without all of you it would not have been possible.
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| − | | |
| − | At a more personal level, I would like to thank a few specific individuals for their unstinting help with the vast administrative and documentary tasks we had to undertake over the past two decades, but particularly during the past five years.
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| − | First I must mention my many colleagues at the [[Centre for South African Theatre Research]], who first got me interested in South African theatre history - notable among them [[P.P.B. Breytenbach]] (generally known as "Oom Breytie"), [[Rinie Stead]], [[Joey Fourie]], [[Astrid Schwenke]], [[Paddy Terry]], [[Eunice Reynecke]], and many others. In many ways they planted the early seeds for the project.
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| − | Then there is my valued girl friday and colleague of almost seven years, [[Yvette Hutchison]] – a miracle of enthusiasm, competence and energy. Without her there would hardly have been a [[Centre for Theatre and Performance Studies]] and certainly no Companion, and her support is still strongly felt in what we do.
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| − | Third , there are our sub-editors and academic consciences, [[Edwin Hees]] and the late [[Arnold Blumer]]. Their support inspired and guided a great deal of the work done, not only on the COMSAT/ESAT project , but in the [[Centre for Theatre and Performance Studies]], on the [[South African Theatre Journal]] and in the [[Department of Drama]]. We value them immensely and Arnold's tragic passing in 2004 was an immense loss to theatre scholarship in the country. (Indeed as have been the passing of a number of our other contributors over the years, including [[Louw Odendaal]], [[Jill Fletcher]], [[Julius Eichbaum]], [[Anton Welman]], and others.)
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| − | In addition there have been my hard-working research assistants over the past 20 years, namely [[Abduragman Adams]], [[Hannah Borthwick]]), [[Petrus du Preez]], [[Felicity Grove]], [[Adam Haupt]], [[Anja Huismans]], [[Miemie Neethling]], [[Rebecca Smart]], and [[Adri van der Colff]], who did so much of the fetching, carrying and cataloguing of material required by this kind of project. Combined with Yvette Hutchison’s restless drive and academic acuity, [[Gaerin Hauptfleisch]]'s organisational skills and voracious reading on theatre matters, and former librarian [[Miriam Terblanche]]’s invaluable experience and commitment, our internal library has become an integral and essential tool for research and creative work in the Department and the Centre, as well as for this project. They deserve a huge hand.
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| − | I would also like to thank all my students at the University of Stellenbosch, who directly and indirectly, contributed so wonderfully to the material for this book over the many years through the research projects they undertook as part of my South African Theatre courses in the Drama Department. Their work directly and indirectly contributed substantially to the data contained in material for this book over the years. I can only thank them from the bottom of my heart for their enthusiasm and dedication.
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| − | | |
| − | And so, finally, I come to another extraordinary person: my wife [[Karina Hauptfleisch]], who not only lent us her formidable skills as librarian, her natural inquisitiveness and her uncanny researcher’s instincts for no pay and very little recognition over the past twenty years of creation, but in so many ways she kept me sane with her robust yet mothering sympathy and advice in times of trouble and doubt.
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| − | | |
| − | Temple Hauptfleisch
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| − | Stellenbosch
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| − | 27th June 2010
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| − | =Background, origins and history=
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| − | == 1979-1993: Background and origins ==
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| − | The general idea of some kind of encyclopaedic documentation project arose while [[Temple Hauptfleisch]] was head of the [[Centre for South African Theatre Research|Centre for South African Theatre Research (CESAT)]] at the [[Human Sciences Research Council (HSRC)]] (1979-1987). Working with the vast archives of over 400 000 items contained in the Centre's documentation centre gave rise to the notion of somehow writing up the history of South African theatre history and led to a number of subsequent articles and books on the topic.
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| − | In 1988 Temple Hauptfleisch moved to the Drama Department at the Universaity of Stellenbosch and the CESAT archives was moved to the State Archives, so the idea languished for a while. But then, as he began setting up a new research centre at the [[University of Stellenbosch]] in 1990 and the general idea of a published documentation of SA theatre history was specifically proposed as the core project of the Centre's overarching research programme on South African Theatre.
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| − | The project was thus planned in more specific terms and with the actual founding of , the [[Centre for Theatre and Performance Studies]] ([[CENTAPS]]) in 1994.
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| − | == 1994-2010: COMSAT ==
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| − | The project proper began as a research and documentation project, [[A Companion to South African Theatre and Performance (COMSAT)]]. The aim was to involve a range of researchers and students to compile a general reference work on [[South African theatre]] and performance which would make the results of academic and other research more readily accessible to the general reader and the theatre enthusiast. In this sense the basic aim was rather to condense and collate available information on all South African theatre and performance forms (as far as they have been documented) in a single volume and in a handy format, rather than undertake any comprehensive new research. A key model for this project was Phyllis Hartnoll’s famous ''Oxford Companion to the Theatre''.
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| − | The working procedures for the original [[COMSAT]] project were relatively simple. The basic framework of the project was conceived by [[Temple Hauptfleisch]], while the detail principles for the publication – and especially the the format for the entries (see below) – were devised by the Project Committee in consultation with the Advisors. With these in hand the members of the Project Committee thereupon did a basic search of the most prominent books and articles on South African theatre and performance, in order to compile a gross list of possible entries for the Companion. The gross list was then honed down to a basic shortlist of about 2000 entries, which were apportioned out to possible authors.
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| − | This first version of the encyclopaedia focussed only on live stage performance and was originally intended to be a formally published mini-encyclopaedia and reference work called [[COMSAT|A Companion to South African Theatre and Performance]] ([[COMSAT]]) and was derived from a database collated by [[Temple Hauptfleisch]] and the [[Centre for Theatre and Performance Studies]] ([[CENTAPS]]) at Stellenbosch (with the help of a large number of associates and assistants) over the course of twenty years (1990-2010)
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| − | | |
| − | While the authors were working on the entries, the project’s co-ordinator [[Yvette Hutchison]] – with the help of Petra Malherbe of the University of Stellenbosch’s Data-centre, set about devising a computerized format for the various kinds of entries, utilizing the Microsoft’s Access programme. This would allow the team to continually update the basic information, and possibly publish revised versions of the book or go on to an online facility or a CD-rom based product.
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| − | When the original deadline for entries had come and gone in 1996, only 21 of the 80 people approached had accepted the contracts, 12 had submitted material, of which only 9 had had fulfilled their contracts completely and properly. (A few more submitted entries during 1997-8, bringing us to 11 contributors by 1999.) It became clear that the project was very close to getting bogged down. At a subsequent meeting, the Committee decided that the rest of the book would be written by [[Temple Hauptfleisch]], assisted by [[Yvette Hutchison]] and some of the post-graduate students in the Department of Drama , while the two sub-editors – [[Edwin Hees]] and [[Arnold Blumer]] – would help with the final editing process.
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| − | As a result of all the aforementioned processes, the project expanded almost exponentially between 1994 and 2010, generating over 10 000 new individual entries and a number of sub-sections, including an overview of theatre and performance in the country, a chronology of theatre events (in the context of social, cultuiral and political events), a comprehensive bibliography and annotated lists of plays and performances.
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| − | | |
| − | This database of more than 2000 pages soon became a core resource for the research undertaken by the staff of the Centre for Theatre and Performance studies as well as the staff and students of the Drama Department. Gradually international enquiries also begtan to come in to the Centre.
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| − | In view of this interest the pressure to publish the material in some form began to grow. However, it slowly became clear that that (a) few publishers were really interested in a publication of this enormous size and (b) as the material still kept on increasing , much editing still needed to be done, and there was an enormous amount of information still lacking. Thus the research team began to explore other possibilities. The most promising seemed to be an online version of the database, done in consultation with the [[Stellenbosch University]]'s IT section and the [[J.S. Gericke Library]].
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| − | | |
| − | == 2010-2011: The birth of ESAT ==
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| − | In May 2010 a meeting was held with Ms [[Ina Smith]] head of [[SUNScholar]] and Mr [[Hilton Gibson]] IT specialist for the [[J.S. Gericke Library]], to create a website for The [[Encyclopaedia of South African Theatre and Performance]] (ESAT). This would form part of the University of Stellenbosch's [[Libopedia]] programme. The various templates were now developed, the staff were trained and transferal of the data to the [[ESAT]] file began in July 2010.
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| − | The new online version of [[COMSAT]], now called [[ESAT]], was conceived as a means of "publishing" all that material online, and thus making the results of all existing and emerging academic and other research more readily accessible to the general reader and the theatre enthusiast nationally and internationally. In this sense the basic aim is rather to condense and collate ''available'' information on all [[South African]] theatre and performance forms (as far as they have been documented) in one place and in a handy and accessible digital format, rather than to undertake any comprehensive new research. Happily a great deal of little known and/or forgotten information has in fact come to the fore in the process, and much is still being discovered as the project grows. However, that was never - nor is it - the fundamental aim of this first version of [[ESAT]].
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| − | In this period the bulk of the original material was transferred to the new [[ESAT]] website by a number of student-assistants and Ms [[Miriam Terblanche]], the project's research assistant and administrator. The entries were uploaded as they were, unedited as yet. The website was initially kept closed to outsiders, in order to facilitate the process of uploading material. However, at the end of 2011, the University opened up the website to readers and internet users, and a circular was sent out to alert potential users of its existence and inviting their help in expanding, correcting and improving the resource.
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| − | == 2012-2013: The expansion of ESAT ==
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| − | In 2012-2013, besides the continued uploading of new material and editing of the existing material, the scope of the ESAT Project was considerably enlarged by two crucial meetings:
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| − | In 2012 a meeting was held with [[Marisa Keuris]] and members of her archival project called [[SA Drama- en teaterbewaring]] ("SA Drama and Theatre Conservation"), which aims at creating a digital archive of materials on South African theatre, in association with similar international archives, such as . This association means that the [[ESAT]] project and the [[SADET]] project become partners, sharing information and each supporting and supplementing the other. Discussions on this matters continued into 2013.
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| − | In 2013 film specialist [[Freddy Ogterop]] approached the project team to suggest that we expand the scope of [[ESAT]] to include [[South African Film]]. This discussion led to the idea that perhaps [[Radio Drama]] and [[Television drama|TV Drama]] may also be added to the scope of [[ESAT]]. Ogterop declared himself willing to join the research team and be the editor for the film section. This was immediately implemented, and the title of the project provisionally changed, even though the implications of these ideas are still being investigated.
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| − | Thus, the period of discussed here is characterized by three major initiatives:
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| − | (1) The scope of the Encyclopaedia expanded radically to include [[film]], [[media]] and [[performance]], and led to a restructuring of virtually the entire online publication. The editorial board finally decided to rename the project the [[Encyclopaedia of South African Theatre, Film, Media and Performance]] (but retaining [[ESAT]] as the acronym). In addition, provision was now made for three sub-editors, one each for [[Theatre]] and [[Performance]]; [[Film]]; and [[Media]].
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| − | (2) A number of templates were developed tested and finalised for writing entries for the various sections of the encylopaedia (see [[ESAT Templates]]), not only to facilitate writing, uploading and editing of entries, but also for use in training new research associates, and to serve as guidelines for the growing number of contributors submitting material to the encyclopaedia.
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| − | (3) The ESAT project began to collaborate formally with the "[[SA Drama and Theatre Heritage]]" project at [[UNISA]]), as part of a national initiative to devise a strategy for the long-term preservation of theatre materials in South Africa.
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| − | =Basic principles in editing and using ESAT=
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| − | In order to undertake this project we needed to answer a number of questions and agree upon some basic principles. Some of the more important of these are briefly discussed here.
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| − | == Language and style ==
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| − | The encyclopaedia is written in the academic form of [[South African English]], which is largely based on British rather than American usage, as can be seen in the spelling of standard words such as [[theatre]], [[colour]].
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| − | == The South African focus ==
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| − | There are two aspects to this issue, both which required simple and pragmatic solutions:
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| − | For many years it was fashionable to claim to be focussing on the entire region (“Southern Africa” ) in both academic and popular works of this nature, to avoid a number of awkward distinctions and accusations of parochiality. Thus a broader sweep would include Lesotho, the old “homelands”, Namibia, Zimbabwe, Malawi, Swaziland, Botswana, even Mozambique and Angola, etc. However, those days are gone and “South Africa” as a specific regional designation, without the stigma of the apartheid-divisionism, seems to be acceptable now. And this is just as well, for not only has the scope of the book originally planned proven to be vast enough without the need to go beyond the borders, but it has become very clear that over the past four centuries South Africa has actually evolved into a unique and distinctive cultural region, in many ways differing from the rest of the sub-continent. However, this can naturally not be all that clear-cut, and some references will be made to activities and personalities from the neighbouring territories.
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| − | The South African focus is also important in terms of the actual process of choosing the entries for this encyclopaedia. After long consultations it was decided that the database is intended to reflect as much of the South African theatre work as possible (i.e. concentrating on South African involvement as writers, dirtectors, performers, designers, etc.), while only the more significant and influential of the thousands of imported works and shows would be taken up in the Companion. This is sheer pragmatism for the short term, perhaps later versions could expand beyond these limitations to provide a more comprehensive list of visiting performers. What this means is for example that while every attempt will be made to list every South African generated theatrical work (as text and/or performance) and every South African performer or artist, not every foreign play produced would be discussed in the list of Plays, or every visiting performer listed in the Personalities section, though the visting companies may be listed in the Venues and Companies section.
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| − | == Contextual information ==
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| − | Much as it would please us to include as much contextual information as possible, this was just beyond the scope of the project. So, though is would be delightful to provide facts about the forces and influences that shaped the theatricals system(s) and facts about the individuals and issues that serve as themes and characters for and in plays and performances, this was not normally possible. However we trust the essays in Part Two will be of some use. As may be the readings suggested in the Part Three, Section 6: Bibliography.
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| − | == The period to be covered ==
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| − | This digital version of [[ESAT]] covers the period from the earliest records of theatre and performance in the country to the year 2000. For events following 2000 AD there are many digital and internet sources currently available, so the emphasis of this project will be the periods preceding that, although a number of later events may be included. Thus, in effect , most of the available records, and thus most of the focus of the encyclopaedia, date from the 19th and 20th centuries. However, since the database is an ongoing activity, these dates will naturally be extended into the next century and millenium as we progress, and possibly back into the past as new information is revealed, especially about the pre-colonial period.
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| − | == The cut-off point for inclusion of personalities and venues==
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| − | This is a thorny issue. Many similar publications and databases take the obvious and easy way out: no one is included who is still alive. However, that would mean that such influential individuals as [[Athol Fugard]], [[Gcina Mhlope]], [[Marthinus Basson]] and [[Zakes Mda]] , for instance, would not be included – which is patently ridiculous. So, we have originally decided to take only individuals older than thirty in 2010 as a general rule (but the occasional extraordinary exception could of course occur), which would make the general cut-off date 1980. Anyone born after 1980 would normally still be building a career, and will be considered for inclusion only later. However there is a flexibility about this, left to the judgement of the individual biographer and the editor. And besides, this is a living document, and the cut-off date will keep changing as we move along.
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| − | As for theatre companies and other organisations, here too we have a difficulty. Since the 1990s the number of companies and service organisations proliferated exponentially, but many have had equally fleeting careers (as an extraordinary number of theatre enterprises seem to had over all ages). Do we list them all? The existence of such directories as The [[Limelight]] and [[Contacts]], and especially the appearance of the [[South African Handbook of Arts and Culture]] in 1998, has helped us here, since they do list most contemporary theatres, companies, etc. Since then, these services have shifted to mumerous websites. So a simple link to them would suffice. The emphasis in this Encyclopaedia is thus on historical events and the companies, organisations and venues that impacted on theatre and the entertainment industry, and thus only lists established contemporary companies and organisations. In this context therefore the word “established” would normally refer to a company that that has been or was in existence for 5 years or more, though it too may be applied flexibly, allowing for the appearance of a company etc. that seems to presage something more influential within the context of the times.
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| − | == Dance, Opera, Musicals, Cabaret, etc. ==
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| − | Contemporary and post-modern practice internationally, as well as in the country has largely obscured what used to be very distinctive borders between the various forms of performance. For the purposes of this database there will be a general thematic entry on each of the forms listed (as well as others), but not all ballet’s, operas, and musical productions will be covered in detail, since this would take us well beyond the modest scope of this initial project. I can however foresee that a larger, more integrated database and/or publication will have to undertaken later.
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| − | == Film, Radio and Television ==
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| − | When I started with this project, the same applied to the hugely influential electronic and filmic forms, i.e. Film, Television and Radio. However, since performers tend to work in these areas at the same time, the personalities section contained many film, TV or radio performers. Therefore, when [[Freddy Ogterop]] joined us as editor of a film section in 2013, it seemed logical to prepare for a full section on Media (Radio and TV) as well. So, in the current publication, the fields covered include film and media.
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| − | == Accuracy ==
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| − | While we have done our best to check all our facts, given the enormous number of entries and cross-references included in this digital encyclopaedia, we are bound to make numerous mistakes. Again we would appreciate receiving corrections and comments, so as to rectify things in the database. (See the next point on names and dates, as well as “[[Updating ESAT]]” at the end of this introduction.)
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| − | == Names and dates of companies, venues and performances ==
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| − | Just a brief note on a familiar problem to all theatre historians. All artists are notoriously sloppy and inaccurate in their day to day administration and documentation of events - and immensely creative in naming things. So much of the material - usually culled from a variety of sources - is rife with discrepancies, inaccuracies or pure speculation. For example: in the 18th and 19th centuries, as well as the work of notable practioners of the 20th century (Gibson Kente comes to mind for instance), the names of companies, theatre venues, and even plays would change from event to event, depending on whims of the people involved, circumstantional issues, or misquoting by those reporting on (or remembering) events. To take but one example: the British officers who performed in the barracks in Cape Town in the first half of the 19th century called themselves (or were known) by any of more than ten names, including the" Garrison Players", “Garrison Amateur Company”, “Garrison Amateur Theatrical Company”, “(Garrison) Amateur Players”, “Garrison theatricals” and “Gentlemen of the Garrison”, and so on. And the amateur (and professional) theatre was even worse, for they were constantly breaking up and reforming to found new companies. The motto "Door Yver Bloeit de Kunst" for instance was used by at least four companies over the course of the 19th century, some clearly related, some not. And then there were companies which used the motto as a name as well, while others had both a name and a motto - and some even two names or two mottoes. In Kente's case again, the names of his plays varied as he travelled, apparently determined by such circumstantial matters as the size of an available banner. (Thus Mamma and the Load became, at times, simply The Load.) It is the African equivalent of the appalling publisher (and film industry) habit of having American and British titles for books and films. There are reasonable sounding motives for it, but it makes the life of the chronicler hell.
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| − | In dealing with this we have tried to offer as many possibilities as we found, and tended to put them together as one entry, with sub-sections, where it seemed reasonable. But readers are asked to understand that what we have may just be a (hopefully informed) guess and a proposal of a possible scenario. So we would urge readers to also consult the references given and if they have information, to let us have it.
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| − | The same naturally applies to dates, since few programmes or posters, even today, provide dates of production, and people's memories are terribly unreliable, even about their most treasured experiences. And then, of course there are those who consciously change the dates to suit their own versions of their history or the history of a company or venue. So, once again, where we have found discrepancies or differences of opinion we have tended to provide both alternatives, except where the authority for one date may be overwhelming. In this respect then, this companion must be seen as a guide only, not a definitive source.
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| − | == Critical perspective ==
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| − | Because this is a general reference work, compiled by a very large number of authors and editors from an even larger variety of sources, there is hardly any possibility of a single, coherent and specific "critical perspective" in the publication, beyond a demand for excellence in research and accessibility of information. Each author would naturally have an own perspective, even an own "agenda", and we have accepted this. However, the informational aim was stressed and the general principles of "inclusiveness", "factual information" and "subjective objectivity" have served as guidelines when commissioning articles and editing them for the original [[COMSAT|Companion]] and hence also for [[ESAT]]. If any specific theoretical perspective may be said to invest the project at this particular point in its evolution, it would inevitably be that of the project leader and general editor, whose ideas concerning theatre in South Africa are contained in the article [[South_African_Theatre/Overview|South African Theatre and Performance An Historical Overview]] by [[Temple Hauptfleisch]], [[Marie Kruger]] and [[P.J. du Toit]].
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| − | == Terminological problems ==
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| − | Another important point of agreement we had to reach was that of a set of working definitions for key concepts to be employed.
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| − | As if the English language itself were not inconsistent enough, the terminology used in discussing theatre is particularly complex and confusing at times, greatly influenced by regional and sociocultural context (E.g. European and American theatrical terms do not always correspond, while literary scholars and theatre practitioners employ radically different terms for the same thing, or may attach totally dissimilar meanings to the same term. South Africa has its own share of idiolectic variations.) Terms also change markedly in meaning over time.
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| − | The encyclopaedia does not set out to define general theatre or media terms. This is done excellently in a number of well–known companions and dictionaries. The [[Afrikaans]] theatre dictionary (though somewhat dated) does the same for [[Afrikaans]] teminology. However, there are naturally certain terms that have specific relevance to or meaning in South Africa (e.g. "[[alternative theatre]]", "[[township musical]]" , "[[kabaret]]/[[cabaret]]", "[[ntsomi]]", "[[bioscope]]", "[[fliek]]", "[[toyi-toyi]]", etc. ), and there are some general terms which we have used in specific ways for our purposes. A number of terms are therefore briefly mentioned below and most of them will also be discussed more fully under their own heading in the section on [[South African Terminology and Themes]]. Without arguing the case for each one in this introduction, I do want to point out the specific decisions we made concerning terminology, are largely based on general contempary South African usage.
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| − | Terms used in specific ways:
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| − | (Click link to see further discussion on the issue.)
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| − | '''[[Actor]]/[[actress]]''' To avoid problems of gender, the neutral term performer is generally used, except where speaking about a specific person. However, the use of Actor as a general term referring to both male and female performers has come into vogue in some circles since the late 1990's. It will ot be used in that way here, however.
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| − | '''[[African]]'''(as in “[[African theatre]]”, “African economy” and so on). The notion of "Africanness" is widely contested today, and we certainly do not want to become embroiled in a debate about it. As used here the term "African" is not an evaluative term, implying any kind of uniqueness or exoticism, but merely a regional indicator, referring to the entire geo-political area we know as Africa today and to all the indigenous cultural forms, processes and artefacts created and used in that region.
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| − | '''[[African languages]]'''. Traditionally in South Africa this refers to languages of African origin (more particularly Bantu origin) in South(ern) Africa. (Indeed they were formerly referred to as Bantu Languages). Lately this has come to include other local languages such as Afrikaans and San. However, we use it here to refer to all the indigenous languages of Africa, not jut those spoken in Southern Africa.
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| − | '''[[Afrikaans]]''' (on its own or in combination, as in “Afrikaans theatre”, “Afrikaans literature”, etc). Used as a noun, this refers to the indigenous language (a derivative of 17th century Dutch, under the influence of local conditions, notably the impact of other languages, such as French, English, German and a range of local languages and languages spoken by the slaves broguht out from the East.) Spoken by about six million people in South Africa, a large proportion of them not white. According to the 2001 census for example Afrikaans is the first language of over 80% of Coloured South Africans (3.1 million people) and approximately 60% of White South Africans (2.5 million). Around 200,000 black South Africans speak it as their first language. Large numbers of Bantu-speaking and English-speaking South Africans also speak it as their second language. It is also the most common first language in the southern section of Namibia. When linked to products or outcomes (e.g. “Afrikaans theatre”) it refers to work produced in that language or by people speaking Afrikaans – not necessarily to a social, ethnic or political entity of some kind (e.g. “Afrikaners”).
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| − | '''[[Afrikaners]]''': The term has been much debated, but basically it is used to refer to a specific group of white South Africans who see themselves as a distinct cultural and ethnic grouping, identified by their language (Afrikaans), their European based social structures, religious affiliation (Calvinist reformed – one of the three “sister” churches) and political orientation. Also referred to as “Boere” (or “Boers” in English). See below.
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| − | '''[[Apartheid]]'''. Used in the politcal sense to refer to the political philosophy of the Nationalist Party and the institutionalised racism of the period 1948-1990. Of late it has become usage to spell it with a lower-case “a”, indicating that it is used as a common noun. This is fine when we refer to it as a form of general racism (e.g. “in Australia apartheid-style thinking led to the aborigines being hustled into inhabitable regions…” ) However, for the most part in this publication we tend to talk about a specific political movement, so in such cases have decided to retain former usage, which uses a capital “A”.
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| − | '''[[Bantu]]''' (Lit. "man"). The term used by colonials to refer to people of African origin. **?? It is back in vogue today, replacing other - more demeaning - terms. *****
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| − | '''[[Black]]''' (as in “Black theatre”, “Black South Africans” and so on): While this usage has been challenged in a variety of ways over the years, this publication utilizes the American usage which has generally been followed in South Africa from the middle of the 1970’s, namely to use “black” in this context as a political term to refer to anyone (or any activity undertaken by someone who would have been classified as) “non-white” or “non-European” in former years. This implies that the term is a blanket term for used to be referred to as Africans (Zulus, Xhosas, Sotho etc.), as well as the so-called “coloureds” and the Indians and other Asian peoples in the country. The individual groups are referred to as “Xhosa, Coloured, Indian, white, Afrikaans”, and so forth, as the need may arise.
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| − | Boer (literally “farmer”). A term used in the plural (“Boere” in Afrikaans, “Boers” in English) to refer to white Afrikaans-speaking South Africans. Originally a positive identification (especially during and after the South African or “Anglo-Boer” War), but later in in the 20th century, often used pejoratively by non-white South Africans, as an alternative to “Afrikaners”.
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| − | Director and Producer: In South African usage we tend to follow the American rather than the British convention, and do so in this publication as well. Thus the director is the person responsible for the general interpretation of the play, for the conduct of the rehearsals, guiding and advising performers. (Referred to in Afrikaans – as on the European continent – as the regisseur.) The producer is the person responsible for the financial and management side of a production. (In British usage: the manager)
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| − | Drama, Theatre and Performance: The word drama is used in its narrower literary sense, to refer to the body of written and printed texts, and not as a general equivalent for theatre (see below). Thus, “English drama in South Africa” would refer to the texts of plays written in English in South Africa, not to the performance of such or other English plays in the country. (The latter would be termed “English theatre in South Africa”)
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| − | The word theatre, on the other hand is used as a broad, non-specific term (eg. as it is used in the title to this work), this would refer to the entire cultural activity (everyone and everything involved in all the theatrical events – i.e. live stage performances done before audiences in order to amuse, instruct or as part of a ritual event). Thus “South African theatre” refers to all theatrical events or performances taking place in South Africa – formal, informal, traditional, African, European, musical, tragic comic, etc., and all aspects of it: management, artistic, technical and receptive processes and participants. (It is therefore inclusive of “drama” and “performance”). Similarly “British theatre” would to all such performances and events done in Britain, etc. It is however one of the (many) quirks of the English language also traditionally used in a more specific sense, to to refer to the building or space in which performances take place (as in The Market Theatre). Inevitably it is used in this way here as well, where the preferred term (venue) is inadequate or misleading or it appears in the name of a venue (the Market Theatre, the State Theatre).
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| − | Performance can also be used in multiple ways. The basic and familiar sense of the term – and the sense in which it is employed in this work - is a reference to the act of performing as a performer (on stage, in a performance space). E.g. “He gave a good performance as Hamlet”. A second, equally conventional use of the term refers to a particular presentation of a work of theatre before a particular audience. (E.g. “We went to see a performance of Hamlet.”) This would be a reference to one specific theatrical event by a given set of performers, at a given time, place and in a given venue. (A series of such performances by the same group of performances would be referred to as a production of the play – see below) A third meaning, which has become prominent during the second half of this century, derives from the theories and practice of Victor Turner and Richard Schechner, notably their important and influential writings about what they term performance theory. They use the term to refer to something much larger and more encompassing than the second meaning of “performance” described above. It points to the entire theatrical event, i.e. the sum of all the processes involved in performing before an audience (including social, political, contextual, performative, ritual and ceremonial acts leading to and shaping the actual performance on stage, as well as its reception during and after the event.) This would naturally also include many performance forms that may seem unconventional in European thinking about theatre forms. In many ways these ideas must (and do) underlie the thinking of this book and contemporary writing on African and South African performance forms. (See the chapter entitled Theatre and Performance in South Africa: An Overview of Major Trends). However, to avoid confusion, the basic idea of this expanded interpretation – i.e. “all the processes and influencing factors involved in a performance before an audience” - will normally be expressed by the more conventional term used above, namely “the theatrical event” (see below).
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| − | English (as in “English theatre”). The reference is to the language, which has its own distinct vocabulary items and pronunciation, referred to as South African English. However, much of it is originally Standard British Pronunciation, though with regional variations. Since the 1970's the influence of American English is on the increase. Also, there is a great deal more mixing of the various languages in the country. (See Jean Branford: The Dictionary of South African English, **). In combinations the reference is to writing in English by any South African, no matter what his or her ethnic or linguistic origins.
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| − | European (as in “European drama”, “European conventions”etc). Simply any drama or theatre practice deriving from Europe. The notion of Eurocentrism (and the rejection of that) featured quite strongly in the 1980-1990's, but seems to have dissipated a little by 2000.
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| − | South African (as in “South African theatre”, “South African languages” and so on): This refers to the geo-political area we know today and to the cultural forms, processes and artefacts created and used in that region.
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| − | Production: This refers to the play as prepared for performance and put on over a period of time, and consists of the entire process of planning, rehearsal and performance.
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| − | Theatrical event: This refers to the entire complex of activities, processes, influencing factors and individuals involved in the presentation of a single performance before an audience at a particular time under particular circumstances. (See Performance above.)
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| − | Theatrical system: This refers to the whole network of activities that go into the making of theatre in South Africa – starting from the creative activities of writers, performers, designers, directors, etc, through administrative and other basic and support activities, such as marketing, ticket-sales, agencies. It also includes external matters (Censorship processes, copyrighting, publishing, sponsorship, etc). The notion is a simplified version of the more complex ideas espoused by general systems-theory. (For further discussion of this see and Hauptfleisch, 1997.)
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| − | == '''Two important notes for all readers''' ==
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| − | === Time-frame and focus on pre-21st century people and events ===
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| − | Because so much information about contemporary arts is already available on the Internet, the aim of this first phase of the project is primarily to provide information about the ''earlier'' periods in our history, or what one might think of as '''pre-21st century''' theatre, film, media and performance; that is: material from older print publications and manuscripts, not always readily to be found on the Internet yet. For information on more recent, post-2000 events, readers are therefore urged to use the various search engines available, and consult the many South African and international Internet resources, such as [[LitNet]][http://www.litnet.co.za/], [[Artslink]][http://www.artlink.co.za/], [[ESAACH]][http://esaach.org.za/index.php?title=Main_Page] and [[Wikipedia]][http://www.wikipedia.org/], '''as well as''' [[ESAT]] itself.
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| − | === It is work in progress ===
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| − | In addition to the time-frame, this initial, experimental, stage of the project (2011-2014) is very much '''work in progress''', a phase in which all the raw material in the database is simply being put onto the web; ''largely unedited''. The main idea has been to make this '''information''' available to all users as soon as possible, therefore the material has been used much as it was received - incomplete as it may be at this stage - and therefore it may contain quite a bit of duplication of information, many ''lacunae'', some uncertainties and even possible errors. (In many cases '''asterisks''' ''' [*]''' are used in the text to signal our own awareness of gaps or possible errors .) There will definitely be numerous issues, people and institutions that our readers may know about, but we have not got to yet or are unaware of, and therefore have no entries as yet. Many entries are currently still only mere (unsorted) collations of information, and still require close editing. (The phrase "TO BE EDITED" is at times put in at the head of the entry, to indicate such cases.)
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| − | We would therefore like to invite all readers to help us in improving, editing and expanding this material. Should you wish to comment, alter or add to a particular entry, or to the encyclopaedia as a whole, please go to the next section [[Updating ESAT]] and let us have your input.
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| − | = Updating ESAT =
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| − | The [[ESAT]] database – and indeed the project as a whole - is intended to be, above anything else, a resource for the theatre scholar, researcher, practitioner, critic and/or theatre lover. Something to be dipped into and used as the need arises. We trust that in its present Wiki-based format it serves that purpose.
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| − | However, as any reader will no doubt quickly realize, a project such as this can hardly be complete or even fully correct, in all the details about the thousands of performances, people, organizations and places involved in South African theatre and performance over the course of the ages. Besides the sheer bulk of potential material to be fitted into our database , there are also problems with the availability and reliability of our sources and our information. To add to the confusion we have found that authors often contradict themselves and each other, at times taking speculation as fact, or turning to speculation themselves to fill in gaps. We have sought to indicate where such disparities or doubts occur. (See [[A Warning to Readers of ESAT]])
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| − | Thus the [[ESAT]] database can only really provide a sample of the more prominent information available at a given time, nor can it ever really be completed as a project. There are no doubt many gaps and inaccuracies of our own in this first version of ESAT and for this reason we would like to stress that it ''is'' a first version, one to be updated and corrected on an ongoing basis. To help us in this process, we would like to invite readers to supply us with any information we might require to improve the Companion for later editions.
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| − | == Submitting contributions to [[ESAT]] ==
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| − | All researchers, artists and other interested parties are invited to help us expand, improve, update and correct ESAT. Any information, contributions, relevant comments, material or information can be sent to the following address. If you wish to send whole entries, you may wish to do so using the [[ESAT Templates]] explained below.
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| − | == The [[ESAT]] address ==
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| − | '''''The Editor: ESAT, Department of Drama, University of Stellenbosch, Private Bag X1, MATIELAND 7602, South Africa.'''''
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| − | '''E-mail address: satj@sun.ac.za'''
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| − | '''Fax number: (+ 27) 21 882 9141'''
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| − | == The [[ESAT Templates]] ==
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| − | We have devised the following templates for the varous categories in the encylopaedia (see next section), and we invite you to use them when preparing material to submit to us. To find the appropriate '''[[ESAT]] Template''' for your purposes, click on the category below:
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| − | #[[Film ESAT Template]]
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| − | #[[Personalities ESAT Template]]
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| − | #[[Radio Plays & series ESAT Template]]
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| − | #[[Stage Plays ESAT Template]]
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| − | #[[Themes and definitions ESAT Template]]
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| − | #[[TV Drama & series ESAT Template]]
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| − | #[[Venues, Companies, Institutions etc ESAT Template]]
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| − | Please use the headings outlined in the appropriate category to write up your entry/entries for inclusion in ESAT. Do so in a ''Word'' document, and then mail it back to us as an e-mail attachment '''satj@sun.ac.za''', or in a letter to the address given above, and we will upload it onto the website.
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ESAT: The Encyclopaedia of South African Theatre, Film, Media and Performance
An open-access, online record of theatre, film, media and performance in South Africa — its history, forms, people and places.
Founding editor: Temple Hauptfleisch. A project of the University of Stellenbosch Drama Department.
Current editors Temple Hauptfleisch and Annel Pieterse
This page last updated on 18 August 2026.
Start here
- Browse all entries — over 25,500 entries, grouped into sixteen categories.
- Search — use the search box at the top right of the page (or press Alt+F) to jump straight to a person, play, venue or company.
The encyclopaedia holds over 25,500 full entries. Since its launch in 2011 the main page has been viewed over 2.5 million times, and all its articles over 140 million times.
What's New?
August 2026
Staff news: On 17 August, 2026, ESAT contributor Dr Annel Pieterse Roux joined the management team as co-project-leader and co-editor of the encyclopaedia.
New entries:
Namaqualand on stage, the radio drama of Lee Doubell, and the 1970s touring repertoire
More than fifty new entries have been added since mid-July, alongside substantial expansions to several existing articles. The period's work falls into three large clusters — a contemporary Afrikaans playwright documented with her full oeuvre, a body of Afrikaans radio drama, and the reconstruction of a 1970s touring company — with further additions in dance history, cinema history and screen biography.
The largest single body of new material documents Dianne du Toit Albertze (19**-), a playwright, novelist, actress, director and arts journalist whose Afrikaans work draws on her native Namaqualand and on trans and queer material. Eight of her works now have entries: bottelnek breek bek, which she adapted from her own novel of the same title; Klip Kween, about a young transgender woman who returns to her birthplace; Huis van sand, set in a caravan park outside Springbok; Kaap, which engages the sound, colour and colonial history of Cape Town; the one-performer tragicomedy Katrina Kakkerlak; the twenty-minute one-woman drama Die meermin-kompleks; Kommapunt, a devised piece on depression assembled from poems and prose; and ’n Kraai song. The cluster is anchored by a substantial new contextual entry on Namaqualand — the Afrikaans Namakwaland, historically also Little Namaqualand or Klein-Namakwaland, as distinguished from Great Namaqualand north of the Orange River — the longest addition of the period, and a rare instance of a geographical entry created to serve a body of dramatic work.
ESAT's coverage of Afrikaans radio drama has been significantly strengthened following the death of the writer Lee Doubell (1958*-2026). Six of his radio works now have entries: the serials Tien Dae and Sestig Dae, and the dramas Krag, Koue Kaiings, Sou die Sterre Luister and Wild en Woeker.
A third cluster reconstructs Theatre Roundabout through its people and its repertoire. Nine plays from the company's mid-1970s touring seasons have been added, most of them by Brian Darnley — When the World Was Very Young, The Lost Laugh, The Music Makers, Grinappy, The Carton of Oon, The 1820 Settlers, STOP! and Oodles — together with The Baron Returns by Roger Holt. Company members Lea Hodgekinson, Ann Larson, Julius Exter, Walter Tamsen, David Chambers, Stephen Scott and Christopher Voysey have been documented for the first time.
Further Afrikaans stage work has been added: Diva, the solo cabaret-theatre piece written and performed by Amanda Strydom; Oupa en Ouma by Leon Kruger, on a couple married more than forty years; Seks in die suburbs by Francois Toerien; Die dinges is 'n watsem – Jan Spies kom tot verhaal by Johan Engelbrecht; the Afrikaans Dinsdae by Morrie, from the play by Jeffrey Hatcher and Mitch Albom; and Duiwelsbrood by Annelie Botes, staged in 2026 by ATKV-tak PEAAT at the Isithatha Theatre. The singer, director, producer and arts manager Niël Rademan (19**-), who works across cabaret, art song, folk music and music theatre, has also been documented.
South African dance history gains an institutional lineage: Joburg Ballet, formed by the 2012 merger of South African Ballet Theatre and Mzansi Productions (2006-2012), the latter founded by Dirk Badenhorst, who now has his own entry; and the South African Academy of Drama and Ballet, formerly affiliated to the University of Natal.
Venue and cinema history is represented by two East London (now KuGompo City) houses — the 20th Century Cinema Theatre in Fleet Street, which seated 800 on a single air-conditioned floor, and the Springbok Cinema, established before the Second World War by the Layden brothers — while Apollo Theatre now disambiguates venues in Germiston and Victoria West. New personality entries include the singer-songwriter Jonathan Butler (1961-), born in Athlone; the singer Ronald Joyce (?-2013), known initially as Little Ronnie Joyce and also raised in Athlone; the actress, director and teacher Gladys Lazarus; and the costumier, stage and publicity manager and performer Michael de Beer (1951-). On the screen side, Lied in My Hart, the Afrikaans musical film by Ivan Hall also known as Song in My Heart, has been documented.
Among expansions, the Makhanda material has been substantially reworked. The entry on Andrew Buckland has been enlarged across its actor, playwright, solo performer and director sections, with linked updates to The Well Being, Feedback, the Rhodes University Drama Department and the Ubom! Eastern Cape Drama Company. Anton Calitz has been expanded and his cabaret Dead Slugs and Strawberries added. My Plaas se Naam is Vergenoeg has been considerably enlarged, with a corresponding update to Vergenoeg. Finally, the Andre Huguenet Memorial Lecture, started by the Port Elizabeth Shakespearean Festival, now has an entry listing its guest lecturers.
July 2026 — New entries: contemporary performance-makers and the Woordfees drama archive
More than 70 new entries have been added to ESAT over recent weeks, with a strong focus on contemporary South African performance.
A group of entries documents the Johannesburg live-arts world of Jefferson Tshabalala ("J. Bobs") — his production house Kiri Pink Nob Arts and his works Khongolose Khommanding Khommissars, Ekasi Lam and the game-show series J.Bobs Live — alongside the collaborative duo Theatre Duo (Billy Langa and Mahlatsi Mokgonyana) and the award-winning Afrikaans production house Polony. The poet-performer Kgafela oa Magogodi has also been documented for the first time.
New play and company entries include the dark comedy Amper, Vrystaat by Nico Scheepers, the one-man music-theatre piece Ek is nie Danie by Danie Marais, the Cape Town company Spark in the Dark, and a run of Afrikaans works and translations such as Skeer op Richmond (Saartjie Botha), Bullets over Bishop Lavis (Christo Davids and Jody Abrahams), Skop, Grieta kry geleerdheid, 'n Lewe in die Teater and Voor ek vergeet.
On the festival side, the Sanlam Dramafees — the former sponsor-branded name of the US Woordfees drama programme in Stellenbosch, used in the early 2010s and later renamed the Toneelfees — now has an entry, together with the first production write-ups from the 2010 festival: Maskermaan by Cecilia du Toit, Suurgat II by Leon Kruger, Daan de Wet hou sy oog op die bal by Gaerin Hauptfleisch, and 'n Koeksister vir Zuma, Pieter-Dirk Uys's satirical solo turn as Evita Bezuidenhout. A new overview entry on South African sketch comedy traces the form's local history.
New reference and screen-history entries include the documentary filmmaker Michael Duffett (1956–2021) and the film The Gods Must Be Crazy (1980); the bilingual essay collection Die Breytie-Boek/The Breytie Book, dedicated to P.P.B. Breytenbach; the cabaret Die Siel van Eugene Marais by Amanda Bothma; and J.M. Barrie's classic Peter Pan; or, The Boy Who Wouldn't Grow Up.
Browse all new additions via recent additions or explore the full encyclopaedia at The ESAT Entries.
June 2026 — New entries: people, plays, companies and venues
Fifty new entries have been added to ESAT this month, spanning four centuries of South African theatre history.
Among the new personality entries, Pieter Madibuseng Odendaal is a bilingual Afrikaans and English poet, playwright and educator whose multilingual drama Droomwerk won the 2021 ATKV-Woordveertjie and was nominated for the Hertzog Prize. Adrian van Wyk, who has also performed as "Diff", is a Cape Town–based performance poet, filmmaker and cultural historian, documented here for the first time. Two historical figures have also been added: Vivienne Adley, a Durban-born singer and actress who performed widely in the mid-twentieth century; and Thomas Barrow-Dowling (1861–1926), a British-born organist and choirmaster who made a significant contribution to musical life in South Africa.
On the plays side, The Scarlet Pimpernel, the 1903 adventure drama by Baroness Orczy, and The Prisoner of Zenda, Edward Rose's 1895 adaptation of Anthony Hope's novel, both have new entries documenting their South African performance histories. New SA work is represented by What the Water Remembers, a collaboratively created multilingual spoken-word production, and Droomwerk, noted above.
Two companies have been added. Wela Kapela Productions, founded in 2018 by Amanda Bothma, is a contemporary touring production company. At the other end of the timeline, Morgan and Wheatman's English Pantomime Company was a British touring company that brought pantomime to South African audiences in the late nineteenth century. The Carlton Theatre in Johannesburg, which opened in September 1912 in the same block as the original Carlton Hotel, has also been documented for the first time as a venue entry.
Browse all new additions via recent additions or explore the full encyclopaedia at The ESAT Entries.
May 2026 — New contributors
- Volunteers Martin Botha, Riaan Oppelt, Annel Pieterse and Kevin Turner have joined the editorial team. See Contributing to ESAT to find out how to help.
May 2025 — The ESAT archive finds a home
- ESAT's growing collection of programmes, posters, photographs and texts is now held in the Performing Arts Research Collection (PARC), established in 2025 at the Africa Open Institute, University of Stellenbosch, with the help of Prof Stephanus Muller. Esther Marie Pauw was appointed as its first administrator.
March 2025 — ESAT recognised at the Fleur du Cap Theatre Awards
- At the 60th Fleur du Cap Theatre Awards, founding editor Temple Hauptfleisch received the Lifetime Achievement Award for his career documenting South African theatre and for establishing ESAT.
About the encyclopaedia
ESAT documents the evolution, history and forms of theatre, film, media and performance in South Africa, and originated from historical research undertaken by the Centre for South African Theatre Research at the Human Sciences Research Council between 1979 and 1987 and continued at the University of Stellenbosch from 1988 to 2010. The website finally opened to the public online in 2011.
An open access project, it is edited by a team of research editors and written by contributors around the world. Though using the Wiki programme for the website, it has, from the start, deliberately been conceived and structured like a printed encyclopaedia, with an index of entries grouped into sixteen categories to facilitate its role as a basic research tool.
Please note that ESAT was founded in 2010 with its main focus then conceived to be on pre-21st-century theatre, film, media and performance. However, we are very aware that we are now well into the 21st century and that ESAT will always remain a work in progress. So, though the encyclopaedia will always be incomplete and subject to occasional error, it is the aim of the contyributors to keep it as up to date and relevant as we can make it, with the help of our readers.
For the full history and aims of the project, and list of editors, see About ESAT.
Finding your way around
- Search
- Type a name, title or keyword into the search box (top right, or Alt+F) and press Enter.
- Browse the index
- Go to The ESAT Entries for the full list of sixteen categories, each managed by a research editor.
- Follow the links
- Links shown in red mark entries not yet written. Click one, then choose "What links here" under Tools to find related mentions elsewhere in the encyclopaedia.
Good to know: ESAT focuses on pre-21st-century performance, is a work in progress, follows a policy on historical and offensive terminology, and is not itself an archival facility.
Contributing to ESAT
ESAT is always growing, and all researchers, artists and interested readers are welcome to help expand, correct and update it. To find out how, see Contributing to ESAT.
Copyright and referencing
ESAT is an open-access publication. Although its content is copyrighted to ESAT and the University of Stellenbosch, it may be freely used for academic and artistic purposes, provided the use is clearly referenced and attributed to the Encyclopaedia of South African Theatre, Film, Media and Performance (ESAT), including the URL of the entry used.
Contact the editors
Postal: The Editors: ESAT, Department of Drama, University of Stellenbosch, Private Bag X1, Matieland 7602, South Africa.
E-mail: satj@sun.ac.za (Temple Hauptfleisch) or annelp@sun.ac.za (Annel Pieterse Roux)
Fax: +27 21 882 9141
