Difference between revisions of "Koos Kombuis"
(Created page with "KOMBUIS, Koos. (195*-) [Aka: André Leroux Du Toit, André Letoit] Anarchic Afrikaans poet, writer, storyteller, singer, cabaret writer and bohemian cult figure. His...") |
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| − | KOMBUIS, Koos. (195*-) [Aka: | + | KOMBUIS, Koos. (195*-) [Aka: André Leroux Du Toit, André Letoit] Anarchic [[Afrikaans]] poet, writer, storyteller, singer, cabaret writer and bohemian cult figure. His writings formed the basis for the seminal Afrikaans rock-cabaret of 1988* entitled ''[[Piekniek by Dingaan]]'' (directed by [[Janice Honeyman]]), the banning of which caused a furore at [[CAPAB]], and which went on to become a sensation at the [[Grahamstown Festival]] of that year and enjoy a successful and influential private run at the [[Baxter Theatre]]. In many ways the production, following on the more intellectual cabarets of [[Hennie Aucamp]], signalled the arrival of a really aggressive Afrikaans anti-apartheid protest theatre. In 199* he wrote another cabaret for the [[University of Stellenbosch Drama Department]] entitled ****, which was performed in ***. His lyrics and songs are also used widely in satirical and other cabaret and revue work. |
Revision as of 10:45, 20 September 2012
KOMBUIS, Koos. (195*-) [Aka: André Leroux Du Toit, André Letoit] Anarchic Afrikaans poet, writer, storyteller, singer, cabaret writer and bohemian cult figure. His writings formed the basis for the seminal Afrikaans rock-cabaret of 1988* entitled Piekniek by Dingaan (directed by Janice Honeyman), the banning of which caused a furore at CAPAB, and which went on to become a sensation at the Grahamstown Festival of that year and enjoy a successful and influential private run at the Baxter Theatre. In many ways the production, following on the more intellectual cabarets of Hennie Aucamp, signalled the arrival of a really aggressive Afrikaans anti-apartheid protest theatre. In 199* he wrote another cabaret for the University of Stellenbosch Drama Department entitled ****, which was performed in ***. His lyrics and songs are also used widely in satirical and other cabaret and revue work.
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