Difference between revisions of "Tot Nut en Vermaak"
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== Third period == | == Third period == | ||
| − | In 1842 the company resurfaced once more at the [[Roeland Street Theatre]] | + | In 1842 the company resurfaced once more at the [[Roeland Street Theatre]], now referred to as [[Privaat Hollandsch Liefbebbery Schouwburg]], announcing an unnamed performance to be done. The following year the company was again performing regularly, in rivalry with [[Door Yver Vruchtbaar]]. Its secretary was one [[C.J.O. Werdmüller]] and among its players are mentioned messrs [[Mr Boonzaier]], [[Mr Combrink]], [[C. Spolander]], [[Mr Desvages]], [[Mr Wentzel]] , [[Mr Wannenburg]] and [[Mr Keytel]]. |
However, by 1844 [[Tot Nut en Vermaak]] was done, and the two companies had joined forces , henceforth to be known as [[Tot Nut en Vermaak en Door Yver Vruchtbaar]], or sometimes referred to as [[Het Privaat Hollandsch Toneellievend Gezelschap]] (“The Private Dutch Amateur Company”). | However, by 1844 [[Tot Nut en Vermaak]] was done, and the two companies had joined forces , henceforth to be known as [[Tot Nut en Vermaak en Door Yver Vruchtbaar]], or sometimes referred to as [[Het Privaat Hollandsch Toneellievend Gezelschap]] (“The Private Dutch Amateur Company”). | ||
| Line 64: | Line 64: | ||
This combined company remained the only [[Dutch]] company active in the Cape until 1847. | This combined company remained the only [[Dutch]] company active in the Cape until 1847. | ||
| − | The productions by [[Tot Nut en Vermaak]] between 1842 and 1843 included: | + | The productions by [[Tot Nut en Vermaak]] mentioned between 1842 and 1843 included: ''[[De Trouwring]]'' (Lembert); ''[[Het Zal Laat Worden]]'' (Meyer); ''[[De Verzoening, of De Broedertwist]]'' (Von Kotzebue); ''[[Wie Weet Waar voor het Goed is]]'' (Von Kotzebue); |
Revision as of 06:19, 31 January 2017
Tot Nut en Vermaak ("For Use and Entertainment"), Cape Town. This was the motto used by a Dutch-language amateur dramatic society sporadically active in the Cape from 1809 till 1819, then resurface in 1822 till 1836 (although it officially existed until 1839). It became active once more between 1842 to 1847.
First period
Founded 1809. It contributed enormously to the Dutch amateur theatre and Cape theatricals in general. It was most likely a continuation of Tot Leering en Vermaak (1804). J.G. Tredouw was manager until 1826 and J.C. Gie was a leading member as well.
It performed mostly serious works in Dutch, opening on 10 June 1809 with Kotzebue's De Kluizenaar op het Eiland Formentera ("The Hermit on the Island Formentera") and De Verwarring ("The Confusion"), played "for the advantage of the newly erected Orphan House".
The years 1817 and 1818 constituted its most successful period. In this time it built its own theatre, under the guidance of J.C. Gie and W.A. Lacable and was very active on stage. For example, among the plays listed for 1818 are:
2 May Het Geweeten (Iffland); 23 May De Broeders Op Den Toets (Volméranges) and Het Misverstand, of Elk is Een Dief in Zyn Neering ("K"); 6 June De Lauwerkrans, of Het Gezag der Wetten (Ziegler); 18 July De Bevrediging (Van Guttenberg); 15 August De Gebroeders (Von Kotzebue or Young); 12 September De Jonge Filosoof, of De Grilligheden van de Fortuin (Tréogate) and De Spraaklooze (Von Kotzebue); 10 October Dienspligt (Iffland) and Het Hoogste Lot (Hagemeister); 5 November De Kwade Luim (Von Kotzebue); 2 December De Goedhartige Losbol (Anon.) and De Deserteur (Von Kotzebue).
In 1819 it disintegrated. Some of its members apparently transferred to Men Doet Wat Men Kan.
Second period
It recommenced its productions in 1822, performing in the African Theatre till the beginning of 1825, afterwards in De Liefhebbery Toneel (or The Amateur Theatre) in Hope Street, a venue which they had founded for the purpose, and continued as a company until 1839 when it sold all its possessions.
Among its members mentioned in this time were J.G. Tredouw, J.C. Gie and J.G. de Villiers.
The company was active till the year 1836, then seemed to lose momentum. It continued to exist till 1839, but no performances were put omn. A combination of the religious ant0theatrical movement and possibly internal strife, leading to the loss of younger members, were a reason. Some of its members apparently transferred or even started to the new rival company Tot Oefening en Vermaak.
In this period productions included:
1822: Volsan, of De Menschenhater Door Tegenspoed (Villenhoven), De Deserteur (Von Kotzebue); (Von Kotzebue); Ransdorp (Van de Wart); De Vreesachtige uit Vooroordeel, Wegens syne Geboorte op Zondag (Hafner/Perinet); Makin, of De Ontdekking van Madera (Barbaz); Het Losse Schot (Von Kotzebue); De Lotery Briefjes (De Florian/Bingley)
1823: De Ortenbergsche Familie (Vreedenberg); Het Geschenck, of De Gelukkige Misvatting (Ogelwight); Natuur en Pligt, of De Zoon Regter over Zyn Vader (Pelletier-Volméranges); Het Strandregt (Von Kotzebue); Haat en Liefde (Bonin); De Spraakloze (Von Kotzebue); Makin, of De Ontdekking van Madera (Barbaz); De Batailje van Waterloo, of La Belle Alliance; De Militaire Stand (Arresto); De Listige Weduwe (Von Kotzebue).
1824: De Kluizenaar op Formentera (Von Kotzebue); De Naamgenoten (Westerman); De Onechte Dochter (Meyer); Het Huwelyk van den Capucyn (Pelletier-Volméranges); De Verkeerde Schaamte (Von Kotzebue); De Echtgenoot Kluizenaar (Von Kotzebue).
1825: Pamela, of De Zegepraal der Onschuld (Pelletier-Volméranges and Cubières -Palmezeaux); De Grijze Man, of De Rondborstige (Baudouin and Poujol); De Broeders op den Toets (Pelletier-Volméranges); Uilenspiegel (Von Kotzebue); De Graaf van Waltron, of De Subordinatie (Möller); De Gevaarlyke Buurman (Von Kotzebue); De Verzoening, of De Broedertwist (Von Kotzebue); De Deserteur (Von Kotzebue); ; Niets en Iets, of De Vyf Gestorvenen (Stoopendaal); Edele Harten door Driften Geslingert, of Gevolgen van Jeugdige Ligtzinnigheid (Eberstein); Niets en Iets, of De Vyf Gestorvenen (Stoopendaal); De Kluizenaar op Formentera (Von Kotzebue)
1826: De Burgemeester (Von Brühl); Jocrisse in een Nieuwen Dienst (Dorvigny); 't Zal laat Worden (Meijer); De Onechte Zoon (Kotzebue); De Gevaarlyke Buurman (Von Kotzebue); De Boodschaplooper Uit Behoefte (Laloue and Ménissier); De Burgerraad (Anon.)
1827: De Kwade Luim (Von Kotzebue); De Brandschatting (Von Kotzebue); De Moeder des Huisgezins, of Is er Geen Orde voor Edele Huisvrouwen? (Von Kotzebue); De Verwarring (Von Kotzebue); De Trouwring (Lembert); De Huisdokter (Ziegler);
1828: De Speler, of Revenge Praag (Iffland); Het Zal laat Worden (Meijer).
1829: De Lasteraar (Von Kotzebue); De Kalkoen van Breda, of Menig Voordeel Komt Onverwacht (Van Ray); Julius van Sassen (Zschokke); De Sint Nicolaas Avond, of Het Bezoek door den Schoorsteen (Kup); De Verzoening (Von Kotzebue); 't Zal laat Worden (Meijer); Siegfried von Lindenberg (Bunsen); De Engelsche Goederen (Von Kotzebue).
1830: De Bruidskroon, of De Droomverskyning (Cuno); De Eerste April (Westerman); 't Zal laat Worden (Meijer); Eleonore van Rosalba, of De Puinhoopen van Paluzzi (Pujos and Dabaytua); Het Glas Water (Guttenberg); De Man in Drie Gedaanten, of De Balling (Zschokke/Pixérécourt); Natuur en Pligt, of De Zoon Regter over Zyn Vader (Pelletier-Volméranges); Niets en Iets (Stoopendaal).
1831: Robert, of De Struikroovers (Schiller/Lamartelière); De Kalkoen van Breda (Van Ray); De Geduchte Regtbank (Lamartelière); De Graaf van Waltron, of De Subordinatie (Möller); De Dronkaard (Von Kotzebue);
1832: De Gevaarlyke Buurman (Von Kotzebue); Robert, Chef de Brigands (Schiller/Lamartélière); Sint Nicolaas Avond (Kup); De Onechte Zoon (Von Kotzebue).
1833: De Kwaade Luim (Von Kotzebue); De Engelsche Goederen (Von Kotzebue); Julius van Sassen (Zschokke); Jocrisse in een Nieuwen Dienst (Dorvigny).
1834: Frederik de Groote te Spandau, of Het Lasterschrift (Duperche and Dorvo); Meester Vink, of De Vermiste Diamant (Desaugiers and Gentil);
1835: De Verzoening, of De Broedertwist (Von Kotzebue); De Twee Kraayen (Von Kotzebue).
1836: De Kluizenaar op Formentera (Von Kotzebue); De Yverzuchtige Vrouw Bekeerd (Von Kotzebue); De Deserteur (Von Kotzebue); Dertig Jaren, of Het Leven van een Dobbelaar (Ducange and Dinaux).
Third period
In 1842 the company resurfaced once more at the Roeland Street Theatre, now referred to as Privaat Hollandsch Liefbebbery Schouwburg, announcing an unnamed performance to be done. The following year the company was again performing regularly, in rivalry with Door Yver Vruchtbaar. Its secretary was one C.J.O. Werdmüller and among its players are mentioned messrs Mr Boonzaier, Mr Combrink, C. Spolander, Mr Desvages, Mr Wentzel , Mr Wannenburg and Mr Keytel.
However, by 1844 Tot Nut en Vermaak was done, and the two companies had joined forces , henceforth to be known as Tot Nut en Vermaak en Door Yver Vruchtbaar, or sometimes referred to as Het Privaat Hollandsch Toneellievend Gezelschap (“The Private Dutch Amateur Company”).
This combined company remained the only Dutch company active in the Cape until 1847.
The productions by Tot Nut en Vermaak mentioned between 1842 and 1843 included: De Trouwring (Lembert); Het Zal Laat Worden (Meyer); De Verzoening, of De Broedertwist (Von Kotzebue); Wie Weet Waar voor het Goed is (Von Kotzebue);
[TH]
Sources
F.C.L. Bosman. 1928. Drama en Toneel in Suid-Afrika, Deel I: 1652-1855. Pretoria: J.H. de Bussy. [1]: pp. 118, 122-128, 130-134, 141, 145, 150, 158-182, 209, 233-252, 274-279, 294, 320-321, 357-384, 441-455, 474, 484-500
Jill Fletcher. 1994. The Story of Theatre in South Africa: A Guide to its History from 1780-1930. Cape Town: Vlaeberg.
P.W. Laidler. 1926. The Annals of the Cape Stage. Edinburgh: William Bryce.
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