Difference between revisions of "Sam Mhangwane"
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Along with [[Gibson Kente]], he is the creator of the “township musical” style popular entertainment. | Along with [[Gibson Kente]], he is the creator of the “township musical” style popular entertainment. | ||
His plays were popular and generated large audiences. Mhangwane saw drama as a means to communicate ideas leading to the correcting of social ills in black society. | His plays were popular and generated large audiences. Mhangwane saw drama as a means to communicate ideas leading to the correcting of social ills in black society. | ||
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Mhangwane also ran courses in acting for young black performers in Johannesburg at his [[People's Theatre Association]], among them was [[Peter Ngwenya]]. | Mhangwane also ran courses in acting for young black performers in Johannesburg at his [[People's Theatre Association]], among them was [[Peter Ngwenya]]. | ||
Revision as of 16:25, 27 January 2024
Sam Mhangwane (19**-) Playwright and director.
Contents
Contribution to SA theatre, film, media and/or performance
Along with Gibson Kente, he is the creator of the “township musical” style popular entertainment. His plays were popular and generated large audiences. Mhangwane saw drama as a means to communicate ideas leading to the correcting of social ills in black society.
Mhangwane also ran courses in acting for young black performers in Johannesburg at his People's Theatre Association, among them was Peter Ngwenya.
He worked with SATO, and his work was rejected as cheap escapist entertainment by SASO and the intellectuals of the BCM.
In the 2000s he ran Drakensberg Promotions, organisers of jazz festivals.
Plays
His plays include:
His melodramatic tale The Unfaithful Woman (1966) is reputed to be the longest running play in South African theatre history, still going strong in the mid-eighties.
Blame Yourself (1970) was another success.
Sources
Beeld, 18 March 1991.
Sowetan, 17 November 2008.
Xaba, Andile. 2021. 'Collective memory and the construction of a historical narrative, analysis and interpretation of selected Soweto-based community plays (1984–1994)'. Unpublished PhD thesis.
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