Difference between revisions of "Die Koggelaar"
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According to [[Nico Luwes]] (2012, p.255) the origins of the play lie in a period of acute loneliness and a disillusionment which newly divorced Fourie experienced while living in Franschoek and working as Resident Dramatist for [[CAPAB]]. He began writing the work in 1981-2, a period of immense confrontation and violence in the country, but only finished it in 1986, when he submitted the text for the newly instituted [[SACPAC|SACPAC Award]]. The text won the very first such award, to some considerable controversy and, in terms of the award, was subsequently performed by a number of the [[Performing Arts Councils]] in 1987. | According to [[Nico Luwes]] (2012, p.255) the origins of the play lie in a period of acute loneliness and a disillusionment which newly divorced Fourie experienced while living in Franschoek and working as Resident Dramatist for [[CAPAB]]. He began writing the work in 1981-2, a period of immense confrontation and violence in the country, but only finished it in 1986, when he submitted the text for the newly instituted [[SACPAC|SACPAC Award]]. The text won the very first such award, to some considerable controversy and, in terms of the award, was subsequently performed by a number of the [[Performing Arts Councils]] in 1987. | ||
| − | Published by [[Haum-Literêr]] in 1988. It would become the second play in the quartet of farm tragedies by Fourie, along with ''[[Ek, Anna van Wyk]]'', ''[[Donderdag se Mense]]'' and ''[[Post Mortem]]''. | + | Published by [[HAUM|Haum-Literêr]] in 1988. It would become the second play in the quartet of farm tragedies by Fourie, along with ''[[Ek, Anna van Wyk]]'', ''[[Donderdag se Mense]]'' and ''[[Post Mortem]]''. |
==Translations and adaptations== | ==Translations and adaptations== | ||
Revision as of 05:42, 4 October 2017
Die Koggelaar ("The mocker") is a play by Pieter Fourie (1940-)
Contents
The original text
Die Koggelaar is an expressionistic play that deals with the Afrikaner and his relationship to God, set in a world bereft of hope. A central symbol is the all encompassing drought - ravaging the souls of the Afrikaners as much as it does the land.
According to Nico Luwes (2012, p.255) the origins of the play lie in a period of acute loneliness and a disillusionment which newly divorced Fourie experienced while living in Franschoek and working as Resident Dramatist for CAPAB. He began writing the work in 1981-2, a period of immense confrontation and violence in the country, but only finished it in 1986, when he submitted the text for the newly instituted SACPAC Award. The text won the very first such award, to some considerable controversy and, in terms of the award, was subsequently performed by a number of the Performing Arts Councils in 1987.
Published by Haum-Literêr in 1988. It would become the second play in the quartet of farm tragedies by Fourie, along with Ek, Anna van Wyk, Donderdag se Mense and Post Mortem.
Translations and adaptations
Performance history in South Africa
1987: First performed by the CAPAB drama company for the combined Performing Arts Councils, opening at the Nico Malan Theatre on 20 March 1987. The play was directed by Dieter Reible, with Ian Roberts (Boet Cronjé), Cedwyn Joel (Anker), Leslie Fong (Knaplat), Brümilda van Rensburg (Anna Cronjé), Lida Meiring (Betta Cronjé), Dawie Maritz (Ben Cronjé), Neels Coetzee (Buurman/Kroegman/Dominee) and Jan Ellis, Pedro Kruger and Sarel Pretorius alternating as Klein-Ben at the various venues. Stage manager Hannelie de Beer. Lighting was by Pieter de Swardt and costumes by Jenny de Swardt.
1987: The Performing Arts Councils sponsored production subsequently opened at the Roodepoort Civic Theatre on 1 May 1987, at the State Theatre, Pretoria, on 14 May, the Windhoek Theatre in Namibia on 9 June and the Bloemfontein Civic Theatre on 17 June. It used the same cast throughout.
Sources
Die Koggelaar theatre programme, 1987.
Nico Luwes 2010. Pieter Fourie (1940-) se bydrae as Afrikaanse dramaturg en kunsbestuurder: 1965-2010. Unpublished doctoral dissertation. Bloemfontein: University of the Free State, pp. 255, 331-374 [1]
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