Difference between revisions of "Waiting for Godot"
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| − | by [[Samuel Beckett]] (1953). One of the most influential plays of the twentieth century, Beckett’s Absurdist masterpiece of two clowns waiting for the “coming” of the enigmatic “Godot” has been performed in numerous guises across the world by professionals, amateurs and students. Locally it has also had an enormous influence on the nature of South African theatre, inter alia on the work of [[Athol Fugard]] (see ''[[Boesman and Lena]]'' for example), [[Bartho Smit]], [[André P. Brink]] and [[Charles A. Fourie]]. (See Absurdist Theatre in Part 3 Section 1: Terminology*?) First produced professionally in South Africa by Leonard Schach on his return from an overseas excursion in 1955. It opened at the [[Little Theatre]] in Cape Town with [[Gavin Houghton]] as Vladimir and [[Alec Bell]] as Estragon. The play was also presented at the [[Hofmeyr Theatre]] and then taken on a tour of several country towns in South Africa under [[Brian Brooke]]’s management. Schach claims that Cape Town audiences saw it before any other English language audiences, outside of London (Schach, 1996). Schach then collaborated with [[Leon Gluckman]] and [[Taubie Kushlick]] as co-producers to stage it once again, this time at the [[Technical College Hall]] in 1956, starring [[Alec Bell]], [[Gerrit Wessels]] and [[Gavin Haughton]]. NTO did it in 1959, directed by [[Tone Brulin]] with Brulin, [[David Herbert]], [[Gabriel Bayman]] and [[Gerrit Wessels]] [??*] Other famous local productions were a mulitracial one at [[The Space]] in Cape Town in 197*, featuring [[John Kani]] and [[Pieter-Dirk Uys]]; a workshopped version with the all-black cast of [[James Mthoba]] and [[Sam Williams]], directed by [[Benjy Francis]] (Durban, Soweto and in the [[Upstairs Theatre]] at the [[Market Theatre]], 1976) and [[Lara Foot-Newton]]’s production for the 2001 Grahamstown Festival (with [[Seputla Sebogodi]], [[Lionel Newton]], [[Robert Whitehead]] and [[Bheki Vilakazi]]). [[ | + | by [[Samuel Beckett]] (1953). One of the most influential plays of the twentieth century, Beckett’s Absurdist masterpiece of two clowns waiting for the “coming” of the enigmatic “Godot” has been performed in numerous guises across the world by professionals, amateurs and students. Locally it has also had an enormous influence on the nature of South African theatre, inter alia on the work of [[Athol Fugard]] (see ''[[Boesman and Lena]]'' for example), [[Bartho Smit]], [[André P. Brink]] and [[Charles A. Fourie]]. (See Absurdist Theatre in Part 3 Section 1: Terminology*?) First produced professionally in South Africa by Leonard Schach on his return from an overseas excursion in 1955. It opened at the [[Little Theatre]] in Cape Town with [[Gavin Houghton]] as Vladimir and [[Alec Bell]] as Estragon. The play was also presented at the [[Hofmeyr Theatre]] and then taken on a tour of several country towns in South Africa under [[Brian Brooke]]’s management. Schach claims that Cape Town audiences saw it before any other English language audiences, outside of London (Schach, 1996). Schach then collaborated with [[Leon Gluckman]] and [[Taubie Kushlick]] as co-producers to stage it once again, this time at the [[Technical College Hall]] in 1956, starring [[Alec Bell]], [[Gerrit Wessels]] and [[Gavin Haughton]]. NTO did it in 1959, directed by [[Tone Brulin]] with Brulin, [[David Herbert]], [[Gabriel Bayman]] and [[Gerrit Wessels]] [??*] Other famous local productions were a mulitracial one at [[The Space]] in Cape Town in 197*, featuring [[John Kani]] and [[Pieter-Dirk Uys]]; a workshopped version with the all-black cast of [[James Mthoba]] and [[Sam Williams]], directed by [[Benjy Francis]] (Durban, Soweto and in the [[Upstairs Theatre]] at the [[Market Theatre]], 1976) and [[Lara Foot-Newton]]’s production for the 2001 Grahamstown Festival (with [[Seputla Sebogodi]], [[Lionel Newton]], [[Robert Whitehead]] and [[Bheki Vilakazi]]). ''[[Duckrabbit]]'' ([[Lara Foot-Newton]] & [[Gerhard Marx]]) se Karoo weergawe van ''[[Waiting for Godot]]''. |
Revision as of 13:41, 10 September 2010
by Samuel Beckett (1953). One of the most influential plays of the twentieth century, Beckett’s Absurdist masterpiece of two clowns waiting for the “coming” of the enigmatic “Godot” has been performed in numerous guises across the world by professionals, amateurs and students. Locally it has also had an enormous influence on the nature of South African theatre, inter alia on the work of Athol Fugard (see Boesman and Lena for example), Bartho Smit, André P. Brink and Charles A. Fourie. (See Absurdist Theatre in Part 3 Section 1: Terminology*?) First produced professionally in South Africa by Leonard Schach on his return from an overseas excursion in 1955. It opened at the Little Theatre in Cape Town with Gavin Houghton as Vladimir and Alec Bell as Estragon. The play was also presented at the Hofmeyr Theatre and then taken on a tour of several country towns in South Africa under Brian Brooke’s management. Schach claims that Cape Town audiences saw it before any other English language audiences, outside of London (Schach, 1996). Schach then collaborated with Leon Gluckman and Taubie Kushlick as co-producers to stage it once again, this time at the Technical College Hall in 1956, starring Alec Bell, Gerrit Wessels and Gavin Haughton. NTO did it in 1959, directed by Tone Brulin with Brulin, David Herbert, Gabriel Bayman and Gerrit Wessels [??*] Other famous local productions were a mulitracial one at The Space in Cape Town in 197*, featuring John Kani and Pieter-Dirk Uys; a workshopped version with the all-black cast of James Mthoba and Sam Williams, directed by Benjy Francis (Durban, Soweto and in the Upstairs Theatre at the Market Theatre, 1976) and Lara Foot-Newton’s production for the 2001 Grahamstown Festival (with Seputla Sebogodi, Lionel Newton, Robert Whitehead and Bheki Vilakazi). Duckrabbit (Lara Foot-Newton & Gerhard Marx) se Karoo weergawe van Waiting for Godot.
