Difference between revisions of "ESAT Bibliography M"

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[[ESAT Bibliography A|A]] [[ESAT Bibliography B|B]] [[ESAT Bibliography C|C]] [[ESAT Bibliography D|D]] [[ESAT Bibliography E|E]] [[ESAT Bibliography F|F]] [[ESAT Bibliography G|G]] [[ESAT Bibliography H|H]] [[ESAT Bibliography I|I]]  [[ESAT Bibliography J|J]] [[ESAT Bibliography K|K]] [[ESAT Bibliography L|L]] [[ESAT Bibliography M|M]] [[ESAT Bibliography N|N]] [[ESAT Bibliography O|O]] [[ESAT Bibliography P|P]] [[ESAT Bibliography Q|Q]] [[ESAT Bibliography R|R]] [[ESAT Bibliography S|S]] [[ESAT Bibliography T|T]] [[ESAT Bibliography U|U]] [[ESAT Bibliography V|V]] [[ESAT Bibliography W|W]] [[ESAT Bibliography X|X]] [[ESAT Bibliography Y|Y]] [[ESAT Bibliography Z|Z]]
 
[[ESAT Bibliography A|A]] [[ESAT Bibliography B|B]] [[ESAT Bibliography C|C]] [[ESAT Bibliography D|D]] [[ESAT Bibliography E|E]] [[ESAT Bibliography F|F]] [[ESAT Bibliography G|G]] [[ESAT Bibliography H|H]] [[ESAT Bibliography I|I]]  [[ESAT Bibliography J|J]] [[ESAT Bibliography K|K]] [[ESAT Bibliography L|L]] [[ESAT Bibliography M|M]] [[ESAT Bibliography N|N]] [[ESAT Bibliography O|O]] [[ESAT Bibliography P|P]] [[ESAT Bibliography Q|Q]] [[ESAT Bibliography R|R]] [[ESAT Bibliography S|S]] [[ESAT Bibliography T|T]] [[ESAT Bibliography U|U]] [[ESAT Bibliography V|V]] [[ESAT Bibliography W|W]] [[ESAT Bibliography X|X]] [[ESAT Bibliography Y|Y]] [[ESAT Bibliography Z|Z]]
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Maasdorp, L. 2000. Shorts : the potential role of the short film in the development of the South African film and television industries. Stellenbosch: Universiteit van Stellenbsoch. (M Dram-tesis.)
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Machen, Peter. 2001. The people have the power. In: The Sunday Independent, July 14, 2001: 12.
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Maclennan, Don 1974. Author’s notes for The voyage of the Santiago. Contrast, 9(2): 26-29. August.
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MacLennan, D. 1981. Palimpsest: some observations on the plays of Athol Fugard. Bloody horse, 3: 59-70.
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Mclennan, D. 1982. Athol Fugard and Don Mclennan: a conversation. English in Africa, 9(2): 1-11.
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MacLiam, Garalt. 1995a. Is there a doctor in the house? – Athol Fugard, opening a new play next month, has lost count of the PhDs. In: The Star, June 20, 1995: 6.
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MacLiam, Garalt. 1995b. Making mugging meaningful... In: The Star, November 9, 1995: 2.
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MacLiam, Garalt. 1997. Seeking the truth. In: The Star, August 5, 1997: 3.
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Madelaine, R. 2007. ‘Sharper than a serpent’s tooth’: audiences’ ingratitude and Oscar Ashe’s tour of Australia, New Zealand and South Africa, 1912-1913. Shakespeare in southern Africa, 19(7): 1-8.
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Madondo, Bongani. 1996. On a road to somewhere. In: Mayibuye, January, 31, 1996: 20.
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Magubane Z. 2002. Mines, Minstrels, and Masculinity: Race, Class, Gender, and the
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Formation of the South African Working Class, 1870-1900. Journal of Men's
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Studies: A Scholarly Journal about Men and Masculinities [serial online]. Spring
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2002;10(3):271-289.
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Magubane, Zine. 2004. The Revolution Betrayed? In: The South Atlantic Quarterly, 103.4: 669.
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Maine, Abbey 1970. An African theater in South Africa. African arts, 3: 42-44.
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Maingard, Jacqueline 1997. Imag(in)ing the South African nation: representations of identity in the Rugby World Cup 1995. Theatre journal, 49(1): 15-28.
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Maitse, T. (with Jen Marchbank) (2000) ‘Revealing silence: Voices from South Africa’. In Jacobs, Jacobson, Marchbank (eds.) States of violence- gender, violence and resistance. Zed Books, London , New York
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Makanube, Peter. 1997. A musical with a moral. In: Mail & Guardian, August 21, 1997: 19.
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Makgamatha, M.P. 1989. System of binary oppositions in the North Sotho nonwane of masilo le masilwane. South African journal of African languages, 9(3): 105-111.
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Makgoba, Thabo. 2003. Morals matter: Reflections on the festival. In: The Daily Dispatch, July 21, 2003: 8.
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Makhaya, Elliot. 1995. The building of theatres and entertainment centres in the townships will go a long way towards preservation of culture. In: The Sowetan, July 21, 1995: 8.
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Makhaya, Elliot. 1997. New SA cultural festival. In: The Sowetan, May 19, 1997: 14.
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Makhene, Motsumi M. 1996. The morning after Uhuru: music, rhythm and the performing arts. In Steyn, Melissa E. & Motshabi, Khanya B. Cultural synergy in South Africa :weaving strands of Africa and Europe. Randburg: Knowledge Resources. p. 147-160.
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Makoe, Abbey. 1999. Johannesburg’s moegoes are bloody vampires. In: The Sunday Independent, August 8, 1999: 11.
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Malan, A. 1967. Helen Braithwaite: grand old lady of the South African stage. Personality, 40-42. May 25.
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Malan, Beverley 1988. Drama as education: using modern stage directions as a teaching module. Crux, 22(4): 24-30. October.
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Malan, C. 1985. Tydskrif vir geesteswetenskappe en die drama.  Tydskrif vir geesteswetenskappe, 25 : 14-18.
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Malan, Charles 1984. Bartho Smit se dramatiese kosmologie veral in Christine en Putsonderwater. In: Malan, Charles (ed.) Spel en spieël :  besprekings van die moderne Afrikaanse drama en teater.  Johannesburg: Perskor. p. 64-82.
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Malan, Charles 1984. Bartho Smit.  Johannesburg : Perskor.
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MALAN, CHARLES (ED.)  1984.  Spel en Spieël. Besprekings van die Moderne Afrikaanse Drama en Teater.  Johannesburg: Perskor.
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Malan, Charles & Smit Bartho 1985. Skrywer en gemeenskap: tien jaar Afrikaanse Skrywersgilde. Pretoria: HAUM-Literêr.
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Malan, Eunice  & Pretorius, Herman  1990a. Amateurtoneel in Suid-Afrika, deur P. J. du Toit. Reviewed in: South African theatre journal, 4(1): 172-177.
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Malan, Eunice 1990b. Theatre and the environment. South African theatre journal, 4(2) : 80-86.
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Malan, R. 1969. Ernest Oppenheimer-teater. Teater SA, 1(4): 22-24. December.
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Malan, R. 1974. Tie in the pact, or theatre-in-education in the Performing arts council of the Transvaal. Crux, 8(2): 28-31. May.
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Malan, R. 1979. Germanicus (N.P. van Wyk Louw). Tydskrif vir letterkunde, 17(3):169-181. August
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Malange, Nise 1989. Women workers and the struggle for cultural transformations. Staffrider, 8(3/4): 76-80.
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Malins, S. 1973. Best known South African in Britain. [Stratford Johns]. Personality, 134-137. May 18.
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Mamana, June 1991. Puppets take up arms against AIDS. American theatre, 8(4): 44-45.
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Mammon, Rafiek. 2003a. Snatching the limelight again. In: The Cape Times, June 11, 2003: 7.
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Mammon, Rafiek. 2003b. Vatmaar, rough diamond of delights. In: The Cape Times, June 19, 2003: 11.
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Manaka, Matsemela I980.  Theatre of the dispossessed; an article based on discussion with James Mthoba and Joe Rahube. Staffrider 3(3): 28-30..
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Manaka, M. 1984. Some thoughts on Black theatre. English Academu review, 2 : 33-39.
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Manaka, Matsemela 1984. Some thoughts on black theatre. English Review. 9(2):33-39.
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Manaka, Matsemela 1985. English Academy review, 2: 33-39 ??? en hierbo, IBT 1985 nrs 3539 en 4018.
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Manim, Mannie & McSweeney, Gavin 1978. What is a stage manager? Scenaria, February/March: 36-37.
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Manim, Mannie 1989. Journeys of discovery: thoughts on theatre. South African theatre journal, 3(1):69-80.
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Mann, Bruce & Wright L. 2001. Ariel in Africa: Leslie French and the Port Elizabeth Shakespearean Festival. Shakespeare in Southern Africa, 13:93-99.
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Mann, S. 1969. Percy Tucker: businessman of theatre and cinema. Personality, 135-140. September 11.
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Mannering, D. 1993. The subject speech and drama and its possible implementation in a curriculum model for education in South Africa. Pretoria: University of Pretoria. (MA thesis).
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MAPONYA, MAISHE. 1984. Problems and Possibilities: A Discourse on the Making of Alternative Theatre in South Africa. English Academy Review. 2:19-32. 
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MAPONYA, MAISHE.: 1995. Doing Plays for a Change, Johannesburg, Witwatersrand University Press.
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Maponya, Maishe 1998. New challenges facing theatre practitioners in the new South Africa. In: Attridge, Derek and Jolly, Rosemary (eds). Writing South Africa: literature, apartheid, and democracy, 1970-1995. Cambridge: Cambridge University Press. p. 249-256.
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  Mapping Counter Truths and Reconciliations: Staging Testimony in Contemporary
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Marais, G.F. 1983. Pluimsaad waai ver (N.P. van Wyk Louw). Tydskrif vir letterkunde, 21(1): 134-139.
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Marais, H. (1998) South Africa: Limits to change. The political economy of transition. London, New York: Zed Books.
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Maree, Cathy 1998. Resistance and remembrance: theatre during and after dictatorship and apartheid. South African theatre journal, 12(1&2): 11-33.
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[Marié du Toit]. 1968. Personality, 14-18. July 4.
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Marius Weyers and South African theatre. 1980. Scenaria, (18): 9-10.
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Marks, Jonathan. 1973. Interview with Athol Fugard. Yale / Theatre 4 (1): 64 – 72.
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Marlin-Curiel, Stephanie 1998. Titel??? TDR, 42(1): 126-
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Marlin-Curiel, Stephanie 2001. A little too close to the truth:  anxieties of testimony and confession in Ubu and the Truth Commission and A story I am about to tell. South African theatre journal, 15:77-106.
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Marlin-Curiel, Stephanie 2001. Rave new world: trance-mission, trance-nationalism, and trans-scendence in the ‘new’ South Africa. TDR, 45(3): 149-168.
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Marlin-Curiel, Stephanie 2002. The long road to healing: from the TRC to TfD. Theatre research international, 27: 275-288.
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Marneweck, Aja 2006. Visual theatre moves out the box: developing puppetry in South Africa. South African theatre journal,20: 290-295.
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Marquard, Davis 1949. Amateur actors can now go to school in South Africa. Outspan. 45(1171): 29. August 5.
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Martin, Bob 2008. Highlights & footlights : a tribute to South African stage and screen / by photographer Bob Martin. Cape Town : Double Storey Books.
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Martin, C. (2006) ‘Bodies of Evidence’. TDR: The Drama Review 50:3, pp. 7-15
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MARTIN, DENIS-CONSTANT. 1999. Coon Carnival: New Year in Cape Town, Past and Present. Cape Town: David Philip Publishers.
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MARTIN, Marilyn. 1995. “The Architecture of William Mitcheson Timlin”. Catalogue: William Mitcheson Timlin (1892-1943). Johannes Stegmann Gallery, University of the Free State. 
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Marx, L. 1990. Aspects of film and television communication, by Pieter J. Fourie. Reviewed in: South African theatre journal,  4(1):159-167.
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Marx, L. 1991. Timeshift: on video culture, by Sean Cubitt. Reviewed in: South African theatre journal, 5(1):117-123.
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Marx CUBITT, SEAN.  Timeshift:  On video culture (Lesley) South African Theatre Journal, Vol.    5(1):117-123
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Marx FOURIE, PIETER J.  Aspects of film and television communication (Lesley) South African Theatre Journal, Vol.    4(1):159-167
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Masque, pseud. 1950. Shortcomings of the South African stage. Trek, 14(3): 27-30.
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Masques, Monuments and Masons: The 1910 Pageant of the Union of South Africa
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Master Harold and the boys. Athol Fugard. 1982. [Dramatic criticiam]. Standpunte, 35(6): 9-14.
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MATTERA, Don. 1987. Memory is a Weapon. Johannesburg: Ravan Press.??** Matzhikiza, John. 1999. Resurrecting a vision. In: Mail & Guardian, June 17, 1999: 1.
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Matzhikiza, John. 2002. A culture for everyone. In: Weekly Mail & Guardian, July 25, 2002: 28.
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MATZKE, CHRISTINE. 1999.  Trying to find the stepping-stones:  Writing Tigre and Bilen dancing in Eritrea. South African theatre journal,  13(1&2):73-101.
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Maufort, Marc Crucible of cultures : Anglophone drama at the dawn of the new millennium / Marc Maufort & Franca Bellarsi (eds.) Bruxelles ; New York : P.I.E.-Peter Lang, c2002 Het via Google by Questia uitgekon maar kon nie die inhoudsopgawe kry om te sien of die boek van toepassing is nie.
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Mayer, C. H. (2005) Artificial walls: South African narratives on conflict, difference and identity: an exploratory study in post-apartheid South Africa. Stuttgart: Ibidem-Verlag.
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Mazibuko, Doreen 1996. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 219-224.
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Mazmane, V. 1978. Literature and politics among Blacks in South Africa. New Classic
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5:42-57.
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McBurney, Blaine 1987. Theatre and cultural struggle in South Africa. by Robert Mshengu Kavanagh. Reviewed in:  Contemporary sociology, 16(3): 391.
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McCarthy, C.A. 1990. The formative value of drama presentations on selected student teachers. Durban: University of Durban-Westville. (MA thesis).
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McCaul-Dommisse, H. 1973. Hoe sal beeldradio ons lewende toneel raak? Buurman, 3(4): 23-24. June.
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McDONALD, MARIANNE. 2005*. Athol Fugard's Theatre.***?
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McDonald, Marianne 2006. Wearing the third hat: Athol Fugard as director. South African theatre journal, 20: 207-220.
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McGibbon, Murray 1986. Theatre in the 21st century : a journey backwards into the future. NEON, (51) : 36-40.
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McKay, Kim 1987. The blood knot reborn in the eighties: a reflection of the artist and his times.  Modern drama, 30(4): 496-504.
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McLaren, J. & Van der Walt, D. 1978. Nasionale toneelbiblioteek en sy dienste. Opvoeding en kultuur, 2(4): 34-35. December.
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McLaren, J. 1978. The play’s the thing wherein I’ll catch the conscience of the king: the
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McLaren, Robert Mshengu 1992. Theatre on the frontline: the political theatre of Zambukon/Izibuko. TDR, 36(1): 90-114.
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McLaren, Robert 1996. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 25-48.
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McLuckie, Craig W. 1993. Power, self, and other: the absurd in Boesman and Lena. Twentieth century literature, 39(4): 423.
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McLuskie, Kate 1999. Macbeth/Umbatha: Global Shakespeare in a post-colonial market. Shakespeare survey, 52:154-165.
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McMurtry Mervyn 1994. The rise of the first Ambassador Bezuidenhout: Pieter-Dirk Uys’s creation of Evita Bezuidenhout, her fictional actuality and his approach to female impersonation. South African theatre journal, 8(2): 79-107.
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McMurtry, Mervyn 1995.  Adam Leslie and his contribution to satire in intimate review in South African theatre. South African theatre journal,  9(1): 3-27.
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McMurtry, Mervyn 1996. Open space: six contemporary plays from Africa edited by Yvette Hutchison & Kole Omotoso and The distance remains and other plays by Robin Malan. Reviewed in: South African theare journal. 10(1): 119-124.
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McMurtry, Mervyn 1998. ‘Greeks bearing gifts’: Athol Fugard’s Orestes project and the politics of experience. Modern drama, 41(1): 105-108.
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MCMURTRY, MERVYN. 2000.  Geographies of research:  From “Geographies of Learning”. South African theatre journal,, 14:19-27.
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MCMURTRY, MERVYN. 2002.  Productions and publication:  Issues in the accreditation of creativ activity for tenure and promotion at tertiary institutions in the United States of America.  South African theatre journal,16: 80 – 91.
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McMurtry, Mervyn E. 2006. Experiencing the ‘living monument’: Athol Fugard’s directing process and the Orestes project. South African theatre journal, 20: 30-47.
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McMurtry  1996. ROBIN.  The Distance Remains and Other Plays (Mervyn) S
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outh African Theatre Journal, Vol.    10(1):119-124
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McSweeny, Gavin 1977. The Market Theatre. Scenaria, June/July. 10-11.
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Mda, Zakes 1983. Commitment and writing in theatre: the South African experience. Classic, 2(1): 13-15.
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Mda, Zakes 1993. When People Play People: Development Communication Through Theatre. Johannesburg: Zed Books/Witwatersrand University Books??**.
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Mda, Zakes 1994a. Another Theatre of the Absurd. In: Theatre and Performance in Africa, edited by Eckhard Breitinger (ed). Bayreuth African Studies 31, Bayreuth Germany. 
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Mda, Zakes 1994b. Learning from the ancient wisdom of Africa in the creation and distribution of messages. Current writing, 6(2): 139-150.
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Mda, Zakes 1995. Theater and reconciliation in South Africa. Theater magazine, 25(3): 38-45.
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Mda, Zakes 1996. ‘Politics and Theatre: current trends in South Africa’. In Davis and Fuchs (eds), Theatre and change in South Africa, Contemporary Theatre studies, 12  Amsterdam, Harwood Academic Publishers
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MDA, Zakes 1997. When People Play People in Post-apartheid South Africa. Interview with D. Salter. In: Brecht Yearbook 22:283-303.
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MDA, Zakes 1998. Current Trends in Theatre-for-Development in South Africa. In: Writing South Africa, edited by Derrick Attridge and Rosemary Jolly. Cambridge: Cambridge University Press.
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Mda, Z. 1993. When People Play People: Development Communication Through Theatre. Johannesburg: Zed Books/Witwatersrand University Books.
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Mda, Z. 1994. Another Theatre of the Absurd. In Breitinger, E. (ed) Theatre and Performance in Africa. Bayreuth African Studies 31, Bayreuth Germany. 
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Mda, Z. 1995. Theater and Reconciliation in South Africa. In Theater 25/3:36-45.
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Mda, Zakes 1996. Politics and the theatre: current trends in South Africa. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 193-218.
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Mda, Zakes 1998. Current trends in Theatre for Development in South Africa. In: Attridge, Derek and Jolly, Rosemary (eds). Writing South Africa: literature, apartheid, and democracy, 1970-1995. Cambridge: Cambridge University Press. p. 257-264.
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Mda, Z. 2002. South African Theatre in an Era of Reconciliation. In: Harding, Frances (ed.) The Performance Arts in Africa. New York: Routledge. 279-289.
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Mda, Zakes 2002. South African theatre in an era of reconciliation. In Harding, Frances (ed). The performance arts in Africa: a reader. London: Routledge.  p. 279-289.
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Mda, Zakes 2005. Südafrikanisches Theater im Zeitalter der Aussöhnung. In: Arndt, Susan & Berndt, Katrin (herausg). .Kreatives Afrika: SchriftstellerInnen über Literatur, Theater und Gesellschaft: eien Festschrift für Eckhard Breitinger. Wuppertal: Peter Hammer Verlag. p. 117-135.
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Mda, Zakes 2007. South African theatre in an era of reconciliation. In: Arndt, Susan & Berndt, Katrin (eds). Words and worlds: African writing, theatre and society; a commemorative publication in honour of Eckhard Breitinger. Trenton, NJ : Africa World Press. p. 77-88.
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Mda, Zakes 2009. The fiction of reconciliation: creating dialogue through verbal and
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  performance arts in South Africa. Journal of human rights, 8(2): 121-132.
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Mduduzi Hlope – an analysis of theme in his plays. Reality, 15(6): 10-12.
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Meersman, Brent 2007. Democracy, capitalism and theatre in the new South Africa. South African theatre journal, 21: 292-306.
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Megan Kruskal. 1985. Scenaria, (52) : 9-12.
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Meet you at the Natal Playhouse. 1987. Lantern, 36(2): 3-16.
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Meij, K. 1978. Is Laat die kerse brand te maklik? Klasgids, 13(3-4): 9-10. November.
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Meij, A. 1988. “Dramaspel” ‘n Eksperiment gedoen by die Kleuterskool Fonteinbleau. Kleuterklanke, 13(1): 31-33. June.
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Meiring, E. 1967. Toneel en werklikheid. Tydskrif vir letterkunde, 5(4): 18-21.
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Meiring, E. 1990. Beckett en Fugard: Waiting for Godot en Boesman and Lena. Tydskrif vir letterkunde, 28(4): 111-116.
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Meiring, Jean. 2002. Afrikaanse kunste en teater ondanks feeste aan’t sterf. In: Die Burger, March 2, 2002: 13.
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Meiring, M. 1980. Katinka Heyns: activist, innovator and perfectionist. Fair lady, 16(7): 98-102. November 5.
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Meiring, Martie. 1998.  Fees, feestelik, feesteliker. Insig, 09/98: 46.
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Melpomene, pseud. 1952a. Theatre at the crossroad. Trek, 16(6): 17.
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Melpomene, pseud. 1952b. Theatre and economics. Trek, 16(8): 7.
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Meltzer, Lalou 1978. A response to this…(Replies to Nicolas-Fanourakis below). Speak, 1(2): 48-49.
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Memela, Sandile. 1995. Life in jail is no fun, honest: play exposes brutality and waste in prisons. In: City Press, June 25, 1995: 34.
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Memela, Sandile. 1995a. Change rolls in at arts council. In: City Press, November 5, 1995: 5.
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Memela, Sandile. 1996. Chilling exposé of an all-too-common marital violence. In: City Press, August 11, 1996: 27.
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Memela, Sandile. 1997. The agony of a queue – when waiting means survival. In: City Press, January 19, 1997: 24.
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Memela, Sandile. 2000a. Memoir glosses over apartheid: production fails to capture realities of the past. In: Sowetan Sunday World, June 4, 2000: 4.
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Memela, Sandile. 2000b. Broken promises of the liberators. In: Sowetan Sunday World, June 18, 2000: 4.
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Memela, Sandile. 2000c. Aiming to heal old wounds. In: Sowetan Sunday World, June 18, 2000: 6.
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Memela, Sandile. 2000d. Portraying black men as brutes. In: Sowetan Sunday World, July 23, 2000: 3.
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Memela, Sandile. 2001. Taking stock of SA’s new rulers. In: City Press, November 4, 2001: 20.
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Merrington, Peter 1996.  Masques, Monuments, and Masons: The 1910 Pageant of the Union of South Africa. In; Wittenberg, Hermann (ed. and
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  introd.); Nas, Loes (ed. and introd.) AUETSA 96, I-II: Southern African
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  Studies. Bellville, South Africa: U of Western Cape P; (1996). vi, 309 + viii,
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  239, 17 pp. (book article). p. 105-118.
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Merrington, Peter 1997. Masques, monuments and masons: the 1910 pageant of the Union of South Africa. Theatre journal, 19(1): 1-14.
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Merrington, Peter 1998. Monuments and masons: the 1910 pageant of the Union of South Africa. In Bogaards, Winnifred M. (ed.) Literature of Region and Nation: Proceedings of the 6th International  Literature of Region and Nation Conference, 2-7 August 1996. Saint John, NB: Social Sciences and Humanities Research Council of Canada, with University of New Brunswick in Saint John. p. 278-299.
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MERSHAM, G. & BAKER, G. 2002. Industrial theatre as a negotiated dramaturgy.  South African theatre journal,, 16:92 – 119.
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Mervis, Margaret 1998. Fiction for development: ZAKES Mda’s Ways of dying. Current writing, 10(1): 39-56.
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Mervis, Margaret 1998. The captain’s tiger. Current writing, 10(2): 143-146.
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Meskin, Tamar & Van der Walt, Tanya 2007. Approaching Macbeth through representation, participation and facilitation – a theatre-in-education ‘adventure’. South African theatre journal, 21: 75-91. Part of initiative to make Shakesp relevant to multicultural SA audience.
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Metelerkamp, Petrovna. 1994. Afrikaner-goed nie goed genoeg vir Afrikaans nie. Insig, 06/94: 29.
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METELERKAMP, Sanni. 1946. George Rex of Knysna, The Authentic Story. Cape Town: **.
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Mev D.F. Malan open  die N.T.O. se Van Riebeeck-toneelfees. 1952. Helikon, 1(5): 108. June.
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Meyer, J. 1975. “Germanicus” daad en ondaad. [Literary criticism]. Klasgids, 10(3): 5-12. November.
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Meyer, J. 1975. Terugkerende motiewe in Putsonderwater [deur] Bartho Smit. [Literary criticism]. Klasgids, 10(3): 54-59. November.
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Meyer, J. 1984. Dwaaldrif : ontmoeting met drama in Ontmoeting by Dwaaldrif (Henriëtte Grové). Klasgids, 19(1) : 29-36.
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Mezzabotta, M. “Ancient Greek drama in the new South Africa.” http://www2.open.ac.uk/ClassicalStudies/GreekPlays/Conf99/mezza.htm
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Mfundo, Ndebele. 1995. Mofokeng’s challenge. In: New Nation, March 9, 1995: 15.
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Miles, Henry 1947. Awakening of South African theatre. Outspan. 41(1050): 25. April 11.
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Millar, G. 1976. At home in Rome. [Berdine Groenewald]. Fair lady, 12(1): 72-75. March 31.
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Millar, Mervyn 2006. Journey of the tall horse: a story of African theatre. London: Oberon Books.
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Mills, J. 1974. Taste of honey for Joe and Di. Personality, 80-83.  March 8.
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Revision as of 11:04, 23 August 2010

Click on the appropriate letter of the alphabet below to find the relevant list.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Maasdorp, L. 2000. Shorts : the potential role of the short film in the development of the South African film and television industries. Stellenbosch: Universiteit van Stellenbsoch. (M Dram-tesis.) Machen, Peter. 2001. The people have the power. In: The Sunday Independent, July 14, 2001: 12. Maclennan, Don 1974. Author’s notes for The voyage of the Santiago. Contrast, 9(2): 26-29. August. MacLennan, D. 1981. Palimpsest: some observations on the plays of Athol Fugard. Bloody horse, 3: 59-70.

Mclennan, D. 1982. Athol Fugard and Don Mclennan: a conversation. English in Africa, 9(2): 1-11.


MacLiam, Garalt. 1995a. Is there a doctor in the house? – Athol Fugard, opening a new play next month, has lost count of the PhDs. In: The Star, June 20, 1995: 6.

MacLiam, Garalt. 1995b. Making mugging meaningful... In: The Star, November 9, 1995: 2.

MacLiam, Garalt. 1997. Seeking the truth. In: The Star, August 5, 1997: 3. Madelaine, R. 2007. ‘Sharper than a serpent’s tooth’: audiences’ ingratitude and Oscar Ashe’s tour of Australia, New Zealand and South Africa, 1912-1913. Shakespeare in southern Africa, 19(7): 1-8.

Madondo, Bongani. 1996. On a road to somewhere. In: Mayibuye, January, 31, 1996: 20.

Magubane Z. 2002. Mines, Minstrels, and Masculinity: Race, Class, Gender, and the Formation of the South African Working Class, 1870-1900. Journal of Men's Studies: A Scholarly Journal about Men and Masculinities [serial online]. Spring 2002;10(3):271-289.

Magubane, Zine. 2004. The Revolution Betrayed? In: The South Atlantic Quarterly, 103.4: 669. Maine, Abbey 1970. An African theater in South Africa. African arts, 3: 42-44. Maingard, Jacqueline 1997. Imag(in)ing the South African nation: representations of identity in the Rugby World Cup 1995. Theatre journal, 49(1): 15-28. Maitse, T. (with Jen Marchbank) (2000) ‘Revealing silence: Voices from South Africa’. In Jacobs, Jacobson, Marchbank (eds.) States of violence- gender, violence and resistance. Zed Books, London , New York Makanube, Peter. 1997. A musical with a moral. In: Mail & Guardian, August 21, 1997: 19. Makgamatha, M.P. 1989. System of binary oppositions in the North Sotho nonwane of masilo le masilwane. South African journal of African languages, 9(3): 105-111. Makgoba, Thabo. 2003. Morals matter: Reflections on the festival. In: The Daily Dispatch, July 21, 2003: 8.

Makhaya, Elliot. 1995. The building of theatres and entertainment centres in the townships will go a long way towards preservation of culture. In: The Sowetan, July 21, 1995: 8.

Makhaya, Elliot. 1997. New SA cultural festival. In: The Sowetan, May 19, 1997: 14.

Makhene, Motsumi M. 1996. The morning after Uhuru: music, rhythm and the performing arts. In Steyn, Melissa E. & Motshabi, Khanya B. Cultural synergy in South Africa :weaving strands of Africa and Europe. Randburg: Knowledge Resources. p. 147-160. Makoe, Abbey. 1999. Johannesburg’s moegoes are bloody vampires. In: The Sunday Independent, August 8, 1999: 11. Malan, A. 1967. Helen Braithwaite: grand old lady of the South African stage. Personality, 40-42. May 25. Malan, Beverley 1988. Drama as education: using modern stage directions as a teaching module. Crux, 22(4): 24-30. October. Malan, C. 1985. Tydskrif vir geesteswetenskappe en die drama. Tydskrif vir geesteswetenskappe, 25 : 14-18.

Malan, Charles 1984. Bartho Smit se dramatiese kosmologie veral in Christine en Putsonderwater. In: Malan, Charles (ed.) Spel en spieël : besprekings van die moderne Afrikaanse drama en teater. Johannesburg: Perskor. p. 64-82. Malan, Charles 1984. Bartho Smit. Johannesburg : Perskor. MALAN, CHARLES (ED.) 1984. Spel en Spieël. Besprekings van die Moderne Afrikaanse Drama en Teater. Johannesburg: Perskor. Malan, Charles & Smit Bartho 1985. Skrywer en gemeenskap: tien jaar Afrikaanse Skrywersgilde. Pretoria: HAUM-Literêr.

Malan, Eunice & Pretorius, Herman 1990a. Amateurtoneel in Suid-Afrika, deur P. J. du Toit. Reviewed in: South African theatre journal, 4(1): 172-177. Malan, Eunice 1990b. Theatre and the environment. South African theatre journal, 4(2) : 80-86.

Malan, R. 1969. Ernest Oppenheimer-teater. Teater SA, 1(4): 22-24. December. Malan, R. 1974. Tie in the pact, or theatre-in-education in the Performing arts council of the Transvaal. Crux, 8(2): 28-31. May. Malan, R. 1979. Germanicus (N.P. van Wyk Louw). Tydskrif vir letterkunde, 17(3):169-181. August

Malange, Nise 1989. Women workers and the struggle for cultural transformations. Staffrider, 8(3/4): 76-80. Malins, S. 1973. Best known South African in Britain. [Stratford Johns]. Personality, 134-137. May 18.

Mamana, June 1991. Puppets take up arms against AIDS. American theatre, 8(4): 44-45. Mammon, Rafiek. 2003a. Snatching the limelight again. In: The Cape Times, June 11, 2003: 7.

Mammon, Rafiek. 2003b. Vatmaar, rough diamond of delights. In: The Cape Times, June 19, 2003: 11. 

Manaka, Matsemela I980.  Theatre of the dispossessed; an article based on discussion with James Mthoba and Joe Rahube. Staffrider 3(3): 28-30..

Manaka, M. 1984. Some thoughts on Black theatre. English Academu review, 2 : 33-39.

Manaka, Matsemela 1984. Some thoughts on black theatre. English Review. 9(2):33-39. Manaka, Matsemela 1985. English Academy review, 2: 33-39 ??? en hierbo, IBT 1985 nrs 3539 en 4018. Manim, Mannie & McSweeney, Gavin 1978. What is a stage manager? Scenaria, February/March: 36-37. Manim, Mannie 1989. Journeys of discovery: thoughts on theatre. South African theatre journal, 3(1):69-80. Mann, Bruce & Wright L. 2001. Ariel in Africa: Leslie French and the Port Elizabeth Shakespearean Festival. Shakespeare in Southern Africa, 13:93-99.


Mann, S. 1969. Percy Tucker: businessman of theatre and cinema. Personality, 135-140. September 11. Mannering, D. 1993. The subject speech and drama and its possible implementation in a curriculum model for education in South Africa. Pretoria: University of Pretoria. (MA thesis). MAPONYA, MAISHE. 1984. Problems and Possibilities: A Discourse on the Making of Alternative Theatre in South Africa. English Academy Review. 2:19-32. MAPONYA, MAISHE.: 1995. Doing Plays for a Change, Johannesburg, Witwatersrand University Press. Maponya, Maishe 1998. New challenges facing theatre practitioners in the new South Africa. In: Attridge, Derek and Jolly, Rosemary (eds). Writing South Africa: literature, apartheid, and democracy, 1970-1995. Cambridge: Cambridge University Press. p. 249-256. 

 Mapping Counter Truths and Reconciliations: Staging Testimony in Contemporary

Marais, G.F. 1983. Pluimsaad waai ver (N.P. van Wyk Louw). Tydskrif vir letterkunde, 21(1): 134-139.

Marais, H. (1998) South Africa: Limits to change. The political economy of transition. London, New York: Zed Books. Maree, Cathy 1998. Resistance and remembrance: theatre during and after dictatorship and apartheid. South African theatre journal, 12(1&2): 11-33. [Marié du Toit]. 1968. Personality, 14-18. July 4.

Marius Weyers and South African theatre. 1980. Scenaria, (18): 9-10.

Marks, Jonathan. 1973. Interview with Athol Fugard. Yale / Theatre 4 (1): 64 – 72.

Marlin-Curiel, Stephanie 1998. Titel??? TDR, 42(1): 126- Marlin-Curiel, Stephanie 2001. A little too close to the truth: anxieties of testimony and confession in Ubu and the Truth Commission and A story I am about to tell. South African theatre journal, 15:77-106. Marlin-Curiel, Stephanie 2001. Rave new world: trance-mission, trance-nationalism, and trans-scendence in the ‘new’ South Africa. TDR, 45(3): 149-168. Marlin-Curiel, Stephanie 2002. The long road to healing: from the TRC to TfD. Theatre research international, 27: 275-288.

Marneweck, Aja 2006. Visual theatre moves out the box: developing puppetry in South Africa. South African theatre journal,20: 290-295.

Marquard, Davis 1949. Amateur actors can now go to school in South Africa. Outspan. 45(1171): 29. August 5. Martin, Bob 2008. Highlights & footlights : a tribute to South African stage and screen / by photographer Bob Martin. Cape Town : Double Storey Books. Martin, C. (2006) ‘Bodies of Evidence’. TDR: The Drama Review 50:3, pp. 7-15 MARTIN, DENIS-CONSTANT. 1999. Coon Carnival: New Year in Cape Town, Past and Present. Cape Town: David Philip Publishers. MARTIN, Marilyn. 1995. “The Architecture of William Mitcheson Timlin”. Catalogue: William Mitcheson Timlin (1892-1943). Johannes Stegmann Gallery, University of the Free State. Marx, L. 1990. Aspects of film and television communication, by Pieter J. Fourie. Reviewed in: South African theatre journal, 4(1):159-167. Marx, L. 1991. Timeshift: on video culture, by Sean Cubitt. Reviewed in: South African theatre journal, 5(1):117-123. Marx CUBITT, SEAN. Timeshift: On video culture (Lesley) South African Theatre Journal, Vol. 5(1):117-123 Marx FOURIE, PIETER J. Aspects of film and television communication (Lesley) South African Theatre Journal, Vol. 4(1):159-167

Masque, pseud. 1950. Shortcomings of the South African stage. Trek, 14(3): 27-30. Masques, Monuments and Masons: The 1910 Pageant of the Union of South Africa Master Harold and the boys. Athol Fugard. 1982. [Dramatic criticiam]. Standpunte, 35(6): 9-14.

MATTERA, Don. 1987. Memory is a Weapon. Johannesburg: Ravan Press.??** Matzhikiza, John. 1999. Resurrecting a vision. In: Mail & Guardian, June 17, 1999: 1.

Matzhikiza, John. 2002. A culture for everyone. In: Weekly Mail & Guardian, July 25, 2002: 28.

MATZKE, CHRISTINE. 1999. Trying to find the stepping-stones: Writing Tigre and Bilen dancing in Eritrea. South African theatre journal, 13(1&2):73-101. Maufort, Marc Crucible of cultures : Anglophone drama at the dawn of the new millennium / Marc Maufort & Franca Bellarsi (eds.) Bruxelles ; New York : P.I.E.-Peter Lang, c2002 Het via Google by Questia uitgekon maar kon nie die inhoudsopgawe kry om te sien of die boek van toepassing is nie.

Mayer, C. H. (2005) Artificial walls: South African narratives on conflict, difference and identity: an exploratory study in post-apartheid South Africa. Stuttgart: Ibidem-Verlag. Mazibuko, Doreen 1996. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 219-224.

Mazmane, V. 1978. Literature and politics among Blacks in South Africa. New Classic 5:42-57. McBurney, Blaine 1987. Theatre and cultural struggle in South Africa. by Robert Mshengu Kavanagh. Reviewed in: Contemporary sociology, 16(3): 391. McCarthy, C.A. 1990. The formative value of drama presentations on selected student teachers. Durban: University of Durban-Westville. (MA thesis). McCaul-Dommisse, H. 1973. Hoe sal beeldradio ons lewende toneel raak? Buurman, 3(4): 23-24. June. McDONALD, MARIANNE. 2005*. Athol Fugard's Theatre.***? McDonald, Marianne 2006. Wearing the third hat: Athol Fugard as director. South African theatre journal, 20: 207-220. McGibbon, Murray 1986. Theatre in the 21st century : a journey backwards into the future. NEON, (51) : 36-40.

McKay, Kim 1987. The blood knot reborn in the eighties: a reflection of the artist and his times. Modern drama, 30(4): 496-504. McLaren, J. & Van der Walt, D. 1978. Nasionale toneelbiblioteek en sy dienste. Opvoeding en kultuur, 2(4): 34-35. December.

McLaren, J. 1978. The play’s the thing wherein I’ll catch the conscience of the king: the McLaren, Robert Mshengu 1992. Theatre on the frontline: the political theatre of Zambukon/Izibuko. TDR, 36(1): 90-114. McLaren, Robert 1996. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 25-48. McLuckie, Craig W. 1993. Power, self, and other: the absurd in Boesman and Lena. Twentieth century literature, 39(4): 423. McLuskie, Kate 1999. Macbeth/Umbatha: Global Shakespeare in a post-colonial market. Shakespeare survey, 52:154-165. McMurtry Mervyn 1994. The rise of the first Ambassador Bezuidenhout: Pieter-Dirk Uys’s creation of Evita Bezuidenhout, her fictional actuality and his approach to female impersonation. South African theatre journal, 8(2): 79-107.

McMurtry, Mervyn 1995. Adam Leslie and his contribution to satire in intimate review in South African theatre. South African theatre journal, 9(1): 3-27. McMurtry, Mervyn 1996. Open space: six contemporary plays from Africa edited by Yvette Hutchison & Kole Omotoso and The distance remains and other plays by Robin Malan. Reviewed in: South African theare journal. 10(1): 119-124. McMurtry, Mervyn 1998. ‘Greeks bearing gifts’: Athol Fugard’s Orestes project and the politics of experience. Modern drama, 41(1): 105-108. MCMURTRY, MERVYN. 2000. Geographies of research: From “Geographies of Learning”. South African theatre journal,, 14:19-27. MCMURTRY, MERVYN. 2002. Productions and publication: Issues in the accreditation of creativ activity for tenure and promotion at tertiary institutions in the United States of America. South African theatre journal,16: 80 – 91. McMurtry, Mervyn E. 2006. Experiencing the ‘living monument’: Athol Fugard’s directing process and the Orestes project. South African theatre journal, 20: 30-47. McMurtry 1996. ROBIN. The Distance Remains and Other Plays (Mervyn) S outh African Theatre Journal, Vol. 10(1):119-124 McSweeny, Gavin 1977. The Market Theatre. Scenaria, June/July. 10-11. Mda, Zakes 1983. Commitment and writing in theatre: the South African experience. Classic, 2(1): 13-15.

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