Difference between revisions of "F.C.L. Bosman"
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| − | (1898-1981) Academic, theatre historian and cultural leader. Born Frederik Christiaan Ludolph Bosman at Kuilsrivier. Bosman studied at the [[University of Cape Town]], and moved on to the University of Amsterdam where he completed a doctoral thesis. Bosman was a lecturer at the [[University of Cape Town]] from 1928 to 1947, and was secretary to the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]] from 1948 to 1958. Bosman published a number of important literary historical books and articles on drama in South Africa over the years, and his most valuable cultural contribution is most probably his almost single-handed creation of a tradition of theatre research in the country - as researcher and as an avid collector of Africana - particularly works on theatre and music. His thesis, a comprehensive study of drama and theatre in South Africa between 1652 and 1855, is perhaps one of the most awe-inspiring and meticulous pieces of historical research in the field to date. It was published in [[Afrikaans]] under the title ''Drama en Toneel in Suid-Afrika'' (Deel I: 1652-1855) ("Drama and Theatre in South Africa. Part 1: 1652-1855") was published in 1928. This first volume in particular has become the source for most information on the 18th and 19th century theatre. (This was out of print for more than 50 years, but has since been digitalized by the DBNL[http://www.dbnl.org/tekst/bosm012dram01_01/ | + | (1898-1981) Academic, theatre historian and cultural leader. Born Frederik Christiaan Ludolph Bosman at Kuilsrivier. Bosman studied at the [[University of Cape Town]], and moved on to the University of Amsterdam where he completed a doctoral thesis. Bosman was a lecturer at the [[University of Cape Town]] from 1928 to 1947, and was secretary to the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]] from 1948 to 1958. Bosman published a number of important literary historical books and articles on drama in South Africa over the years, and his most valuable cultural contribution is most probably his almost single-handed creation of a tradition of theatre research in the country - as researcher and as an avid collector of Africana - particularly works on theatre and music. His thesis, a comprehensive study of drama and theatre in South Africa between 1652 and 1855, is perhaps one of the most awe-inspiring and meticulous pieces of historical research in the field to date. It was published in [[Afrikaans]] under the title ''Drama en Toneel in Suid-Afrika'' (Deel I: 1652-1855) ("Drama and Theatre in South Africa. Part 1: 1652-1855") was published in 1928. This first volume in particular has become the source for most information on the 18th and 19th century theatre. (This was out of print for more than 50 years, but has since been digitalized by the DBNL[http://www.dbnl.org/tekst/bosm012dram01_01/]) Long promised but not completed till 1980, was the second Afrikaans volume ''Drama en Toneel in Suid-Afrika'' (Deel II: 1856-1912), ("Drama and Theatre in South Africa. Part II: 1856-1912"); though this was vastly inferior to the first volume. He published many other shorter works, in [[Afrikaans]] and English, on the theatre - largely based on the two key studies. Other contributiuons include editing [[C.E. Boniface]]'s ''[[De Nieuwe Ridderorde of De Temperantisten]]'' (1954) and ''[[Di Bedriegers]], [[Magrita Prinslo]] en Ander Afrikaanse Dramas en Samesprake tot 1900'' (1975). He is also the author of a volume of poetry entitled ''Pluksels'' (1932). He supervised theses by other scholars working in the field, notably the doctoral study by [[Ludwig Binge]], whose history of [[Afrikaans]] theatre in the first half of the 20th century has been most influential. |
In broader terms he played a role in promoting cultural activity in the country, more specifically [[Afrikaans]] culture. In his role as member, and later secretary, of the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]], he played a strong advisory role within the theatre industry over the years. For example in [[Die Burger]] (10 October, 1936) he proposed a better coordination of theatre, particularly the [[Afrikaans]] professional theatre, in the country, asking the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]] and the [[Federasie van Afrikaanse Kultuurvereniginge]] to take a hand, which led to the founding of the [[Toneelbond]] in 1937. Though this was barely successful, it would be an idea he would regularly propose over the years. In 1948 he became a member of the management board of the [[National Theatre Organisation]]. | In broader terms he played a role in promoting cultural activity in the country, more specifically [[Afrikaans]] culture. In his role as member, and later secretary, of the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]], he played a strong advisory role within the theatre industry over the years. For example in [[Die Burger]] (10 October, 1936) he proposed a better coordination of theatre, particularly the [[Afrikaans]] professional theatre, in the country, asking the [[Suid-Afrikaanse Akademie vir Wetenskap en Kuns]] and the [[Federasie van Afrikaanse Kultuurvereniginge]] to take a hand, which led to the founding of the [[Toneelbond]] in 1937. Though this was barely successful, it would be an idea he would regularly propose over the years. In 1948 he became a member of the management board of the [[National Theatre Organisation]]. | ||
Revision as of 15:29, 11 September 2013
(1898-1981) Academic, theatre historian and cultural leader. Born Frederik Christiaan Ludolph Bosman at Kuilsrivier. Bosman studied at the University of Cape Town, and moved on to the University of Amsterdam where he completed a doctoral thesis. Bosman was a lecturer at the University of Cape Town from 1928 to 1947, and was secretary to the Suid-Afrikaanse Akademie vir Wetenskap en Kuns from 1948 to 1958. Bosman published a number of important literary historical books and articles on drama in South Africa over the years, and his most valuable cultural contribution is most probably his almost single-handed creation of a tradition of theatre research in the country - as researcher and as an avid collector of Africana - particularly works on theatre and music. His thesis, a comprehensive study of drama and theatre in South Africa between 1652 and 1855, is perhaps one of the most awe-inspiring and meticulous pieces of historical research in the field to date. It was published in Afrikaans under the title Drama en Toneel in Suid-Afrika (Deel I: 1652-1855) ("Drama and Theatre in South Africa. Part 1: 1652-1855") was published in 1928. This first volume in particular has become the source for most information on the 18th and 19th century theatre. (This was out of print for more than 50 years, but has since been digitalized by the DBNL[1]) Long promised but not completed till 1980, was the second Afrikaans volume Drama en Toneel in Suid-Afrika (Deel II: 1856-1912), ("Drama and Theatre in South Africa. Part II: 1856-1912"); though this was vastly inferior to the first volume. He published many other shorter works, in Afrikaans and English, on the theatre - largely based on the two key studies. Other contributiuons include editing C.E. Boniface's De Nieuwe Ridderorde of De Temperantisten (1954) and Di Bedriegers, Magrita Prinslo en Ander Afrikaanse Dramas en Samesprake tot 1900 (1975). He is also the author of a volume of poetry entitled Pluksels (1932). He supervised theses by other scholars working in the field, notably the doctoral study by Ludwig Binge, whose history of Afrikaans theatre in the first half of the 20th century has been most influential.
In broader terms he played a role in promoting cultural activity in the country, more specifically Afrikaans culture. In his role as member, and later secretary, of the Suid-Afrikaanse Akademie vir Wetenskap en Kuns, he played a strong advisory role within the theatre industry over the years. For example in Die Burger (10 October, 1936) he proposed a better coordination of theatre, particularly the Afrikaans professional theatre, in the country, asking the Suid-Afrikaanse Akademie vir Wetenskap en Kuns and the Federasie van Afrikaanse Kultuurvereniginge to take a hand, which led to the founding of the Toneelbond in 1937. Though this was barely successful, it would be an idea he would regularly propose over the years. In 1948 he became a member of the management board of the National Theatre Organisation.
The immense archive of material he had collated on theatre music and art over the years went to two institutions after his death: The Human Sciences Research Council's Centre for South African Theatre Research (CESAT) (later moved to the State Archives in Pretoria) and the Nasionale Afrikanse Literêre Museum en Navorsingsentrum (NALN).
Sources
http://www.esaach.org.za/index.php?title=Bosman,_Frederik_Christiaan_Ludolph
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