Difference between revisions of "ESAT Bibliography Am-Ap"
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[[André Huguenet]]. 1957. ''Theatre News'', 2(1):3. | [[André Huguenet]]. 1957. ''Theatre News'', 2(1):3. | ||
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[[André Huguenet]] honoured. 1956. ''South Africana'', (3). | [[André Huguenet]] honoured. 1956. ''South Africana'', (3). | ||
Revision as of 15:34, 23 September 2011
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Amato, Rob 1977. A Xhosa woman’s serious optimism. Speak, 1(1):14-17.
Amato, Rob 1984. Fugard’s confessional analysis: Master Harold… and The Boys, in Daymond, Margaret J., Jacobs, Johan & Lenta, Margaret 1984. Momentum: On Recent South African Writing. Pietermaritzburg: University of Natal Press. 198-214.
Amato, Rob 1988. The Baxter Theatre and Handspring Puppet Company’s production of A Midsummer Night’s Dream at the Monument Theatre Grahamstown, July 1988. Shakespeare in Southern Africa, 2:102-105.
Ambe, Hilarious 2000. Cultural production and strategies for conflict mediation: report on a Spring seminar on Robben Island. South African Theatre Journal, 14:218-223.
Amkpa A. 1999. Drama in South Africa and tropes of postcoloniality. Contemporary Theatre Review, 9(3):1.
Amstel Festival wrap-up. 1988. Scenaria, (88):7-9.
The Amstel Playwright of The Year award 1978. 1978. Scenaria, (8):29.
Amstel Playwright of The Year award : 1986. 1986. Scenaria, (71):18.
Anastasia – last of the Romanovs? 1977. Scenaria, June/July: 33.
Leila Anderson 2006. Obsession and the other: a critique of the influence of the Japanese aesthetic in the work of Geoffrey Hyland. South African Theatre Journal, 20:150-174.
André Huguenet. 1957. Theatre News, 2(1):3.
André Huguenet honoured. 1956. South Africana, (3).
André Huguenet – the man. 1978. Scenaria, February/March: 21-22.
André Huguenet: thirty years of theatre. 1957. South African Panorama, 1(8). March 28.
André P. Brink in gesprek met Abraham de Vries. 1972, in Gesprekke Met Skrywers, deel 2. Kaapstad, Tafelberg. 1-26.
Andrew, Alwyn 1951. Defects of the South African theatre, Trek, 15(2):22-25.
Andrew, R.V. 1956. The achievement of the one-act play. Unpublished master’s thesis. Potchefstroom: Potchefstroom University for Christian Higher Education.
Andrew Buckland: drama 1986. 2009. In Watterson, Lore (ed.). Standard Bank Young Artist Awards, 25 years. Randburg [South Africa] : DeskLink Media. 36-37.
Angove, Coleen 1986. Athol Fugard's portrayal of the Afrikaner. Unpublished master’s thesis. Potchefstroom: Potchefstroom University for Christian Higher Education
Angove, Coleen 1987. The inescapable bond with a predetermined heritage: A phenomenon illustrated by representative characters from three Athol Fugard plays. Literator, 8(3):1-12.
Angove, Coleen 1989. Afrikaner stereotypes and mavericks in selected Fugard plays. South African Theatre Journal, 3(1):55-68.
Angove, Coleen 1992. Alternative theatre: Reflecting a multi-racial South African society? Theatre Research International, 17(1):39-45.
Anna Cloete – 50 jaar aktrise. 1985. Lantern, 34(4):33-43.
Anna Neethling-Pohl. 1981. Scenaria, Special issue:31.
Annamalai, Sathasivan 1992. Therukoothu – a traditional dance drama form as manifest in Natal since 1860. Unpublished master’s thesis. Durban: University Durban-Westville.
Annamalai, Sathasivan 1999. The history of South African Indian theatre in Natal from the mid-1900s to the present day, with special reference to its transformation within the changing socio-political climate. Unpublished doctoral dissertation. Durban: University of Durban-Westville.
Anne Ziegler. 1957. Playtime, (125),5-7.
Antonissen, Rob 1958. Kronieke: drie dramas – drie wêrelde Eitemal: Maria Magdalene, N.P. van Wyk Louw: Germanicus, Uys Krige: Die Goue Kring]. Standpunte, 12(1):55-66.
Antrobus, Richard & Snowball, Jeanette 2010. Physical Theatre consumption and the advent of the 'Festivore': a case study of audience attendance at the South African National Arts Festival. South African Theatre Journal, 24:327-341.
Apronti, E.O. 1976. The tyranny of time: The theme of time in the artistic consciousness of South African writers, in Jones, Eldred Durosimi (ed.). African Literature Today: A Review. London: Heinemann. 106-114.
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