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Reza de Wet (1952-2012) was a South African actress, award-winning playwright, novelist and drama lecturer.

Occasionally credited as Reza Reardon, particularly when directing.

Biography

Born in the rural town of Senekal in the Free State, the only child of Judge H.F. de Wet and Elizabeth Mary De Wet (née Marais). When her father was stationed in Bloemfontein, she attended school and matriculated at the Hoër Meisieskool Oranje[1] ("Oranje Girl's High School"). Her mother, generally known as "Tawty", was involved in local amateur operetta and drama. Her classmates thought her a bit enigmatic, but she excelled in drama, performing in the school plays. The school now has an annual drama festival named after her.

Two other early female influences on her and her work were her maternal grandmother Frederica Rousseau, and her mother's Sotho housekeeper Betty Motsamai, while three significant theatrical influences from her youth and student days have clearly had a significant long term effect on the evolution of her particular style of playwriting and the themes she tackled: Her early exposure to the theatrical work of the Afrikaans writers and touring companies, her exposure to circus performances and during her student years, her introduction to Russian realism and the work of Anton Chekhov (1860–1904)[2] and Konstantin Stanislavski (1863–1938)[3].

De Wet studied English and Drama at the University of the Orange Free State (1971-1973), inter alia being trained in Konstantin Stanislaviski's acting techniques under Henk Hugo.

After a stint as an actress for

She then moved to Cape Town for a while, to study at the University of Cape Town to study for a post graduate diploma in acting, notably influenced by Robert Mohr, who considered her a natural Chekhovian actress and cast her in four of his productions of the plays. She later also completed a B.A. Honours in English literature at the University of Cape Town, before returning to Johannesburg to join .

, writing on Henry James, under the supervision of Ian Ferguson.

PACT (including its Youth Company and The Arena Company) and the Market Theatre, she and her husband Lindsay Reardon moved to Grahamstown, where he taught drama and she initially lectured in English department, later also joining the Drama department staff, eventually as Associate Professor.

De Wet died of leukemia in January 2012 and is survived by her husband actor and director Lindsay Reardon, daughter Nina Van Schoor, and her grandchildren, Max and Mairi.

Career

De Wet had a number of related interests, as reflected in the arc of her career, all driven by her strong creative urge and fecund imagination.

As actress

Her first appearance on stage was as schoolgirl, in Quality Street.

Her first roles, as student in the Bloemfontein, included "Nina" in The Seagull,

She worked as an actress for PACT (including its experimental The Arena Company), where she met Lindsay Reardon, whom she later married. She later also performed at the Market Theatre,

Having completed her studies, De Wet auditioned for Mannie Manim at PACT, and became a member of the PACT Experimental Youth Group (also known as The Arena Company), led by Ken Leach. However she also from the start had major roles in main stream productions by the main company. In the experimental company the performers were encouraged to create their own work and to workshop plays. It was here she met Lindsay Reardon, whom she later married.

Reardon followed Manim to the Market Theatre when Barney Simon and Manim founded the new venue, and he there directed Reza in a production of Miss Julie.

While in Grahamstown, she occasionally performed again, including roles in Diepe Grond,

Her final appearance on stage came in 2011 when she was cast in Die See, directed by her husband, Lindsay Reardon.

As director

As director De Wet did, among other plays, Arthur Miller's The Crucible, (1989), August Strindberg's The Ghost Sonata (Rhodes University Drama Department); On the Lake (First Physical Theatre Company, 2001), Her final directing job at Rhodes was her own play Heathcliff Goes Home (2007).

As playwright

Fascinated with theatre and performance from her pre-school days, she wrote some early work in English, notably her first play, Heathcliff and the Dancing Bear. However, in 1985 she leapt to national prominence as a playwright when, urged by Francois Swart and Denys Webb, when she wrote and submitted her first Afrikaans play, Diepe Grond, to the ATKV Kampustoneel-festival in Pretoria, where it premiéred sensationally and was immediately taken up for professional performance. This led to a steady stream of highly rated plays, in a distinctive neo-Gothic style of her own (what some refer to as "Afrikaner Gothic").

She did some physical theatre texts with and in later years she worked closely with director/designer Marthinus Basson on a number of her plays.

Having been raised bilingually and trained in both Afrikaans and English, De Wet wrote more than 20 plays in both languages over the course of 30 years. Some of these were also translated into other languages.

De Wet's writing was rather enigmatic in its time, a-political, complex and intensely human works in a time of political turmoil and committed writing which favoured the politically explicit. Each play displays a strong sense of time and place, but is usually set in an earlier time and providing a reflection on the complex issues of being a woman in search of freedom and self-expression in a male-dominated society. In view of their complexity and relevance, it is not surprising that a large number of academic studies of her works have been undertaken over the past 25 years (see the ESAT bibliography for example).

Reza de Wet was extremely well-read, so her work tends to evince a strong literary bias. She had a particular fondness for Gothic and Victorian literature and Afrikaans writing from the first half of the 20th century. Thus the structural and stylistic influences on the plays come from the range of her reading and training in theatre, but the actual theatrical form used by De Wet is more often than not based on the specific social realist approach developed by the core models she acquired as a student of drama - Anton Chekhov and Antonin Stanislavsky perhaps being the most dominant examples. This was also the chosen form of most of her Afrikaans models. However this basic form is altered and enhanced by her interest in such matters as Gothic and Victorian literature, the circus, Noh drama and Grimm's fairy tales being significant factors for example, as Anja Huismans and Juanita Finestone (1995: 89), Danie Stander (2016) and Marisa Keuris (2018) show. In contrast to the formal aspects, the content of the plays, also inspired by her eclectic reading, tended towards (grotesque) fantasy and magic realism. The works therefore have an almost Gothic feel, enhanced by a fluidity in her use of time and place, often expressed through a range of additional techniques, such as the employment of games, rituals, re-enactment of the past, and role-switching by the performers. More pertinently, a number of the plays refer to and use characters and/or themes from the works and lives of various literary and theatrical figures. Among the more recognizable of these are Shakespeare, Emily Bronte, Henrik Ibsen, Anton Chekhov, J.M. Synge, Eugène O'Neill and Athol Fugard from the world canon, while the Afrikaans writers include Uys Krige, H.A. Fagan, C. Louis Leipoldt, Eugène Marais, J.F.W. Grosskopf, Alba Bouwer, André Huguenet and Bartho Smit, and others. Her exposure to the work of Gary Gordon and the First Physical Theatre Company clearly also had an influence on the style of some of her later work.

The plays

This list includes a number of texts written for the First Physical Theatre Company

For details of the individual works and their various productions, click on the appropriate link below

Heathcliff and the Dancing Bear (early 1980s).

Diepe Grond (1985)

Op Dees Aarde (1986)

Nag, Generaal (1988).

In a Different Light (1989)

A Worm in the Bud (1990).

Mis (1993)

The Unspeakable Story (1994)

Mirakel (1994)

Drif (1994)

Drie Susters Twee (1997)

Lillith (1998)

Yelena (1998)

Bessie's Head (2000)

On the Lake (2001)

Breathing In (2004)

Concealment (2004)

The Brothers / Broers) (2006)

Verleiding (2005)

Heathcliff Goes Home (2007).

Blou Uur (2008)

Die See (2011)

Published collections

Vrystaat Trilogie (“Free State Trilogy” – P: 1991)

Trits: Mis, Mirakel en Drif (P: 1993),

Reza de Wet: Plays One An English version of the collection Trits: Mis, Mirakel en Drif translated by Steven Stead and published by Oberon Books, 2000. (Includes the plays Missing, Crossing and Miracle).

Reza de Wet: Plays Two Translated by Reza de Wet. Foreword by Marthinus Basson. Published by Oberon Press 2005. (Contains African Gothic, Good Heavens and Breathing In.)

De Wet: A Russian Trilogy (Reza de Wet)

De Wet: Plays One (Reza de Wet)

De Wet: Plays Two (Reza de Wet)

De Wet: Two Plays (Reza de Wet)

As novelist

After completing the collection Trits, she turned to prose for a while, completing a novel called Stil Mathilda ("Quiet Mathilda"), published by Human en Rousseau in 1995.

As Lecturer

In 1982 de wet and her husband moved to Grahamstown, where they both worked in the drama department at Rhodes University. She taught in the drama department for more than 20 years, later being made a professor, and retired in 2007.

Awards and tributes

De Wet was the first playwright, and only the second author, to win the prestigious Hertzog Prize twice in a row for the same medium (1993, 1996).

In April 2013 the Rhodes University Drama Department devised a a tribute show to the playwright, entitled Drifting, which was performed at the Rhodes Theatre during Graduation on 4, 6 and 9 April 2013 at 7:00pm. Similar tributes were held at other Universities in South Africa.

The Hoër Meisieskool Oranje in Bloemfontein named their annual Drama festival after Reza de Wet.

The Reza De Wet Post Graduate Bursary fund was established at Rhodes University in her memory.

Sources

Tercia Barnard. 1997. Spel as ekspressie van die rituele in Reza de Wet se Trits. Unpublished master’s thesis. Stellenbosch: University of Stellenbosch.

Temple Hauptfleisch. 1993. "Die dramaturg as towenaar: ŉ Inleiding tot Mis, Mirakel en Drif". In: Reza de Wet. 1993. Trits (Mis, Mirakel, Drif). HAUM-Literêr.

Greg Homann. 2015. "Emerging Playwrights and Significant Plays". In: Martin Middeke, Peter Paul Schnierer and Greg Homann (editors). The Methuen Drama Guide to Contemporary South African Theatre. London: Bloomsbury Publishing.

Anja Huismans, and Juanita Finestone. 1995. "Interview: Anja Huismans and Juanita Finestone talk to Reza de Wet". South African Theatre Journal, 9 (1): 89 – 95.

Marisa Keuris. 2018. Die spore van ouer Afrikaanse dramaturge en skrywers in Reza de Wet se Drif" (Draft manuscript)

Anton Krueger. 2009. Experiments in Freedom: Explorations of Identity in New South African Drama. Cambridge Scholars Publishing.[4]

D.B. Stander. 2016. Reza de Wet’s Channeling of the Long Nineteenth Century on Post-1994 South African Stages. Unpublished MA thesis, University of Stellenbosch.

Danie Stander. 2017. "Reza de Wet – Haar Lewe en Werke", In: Programme for KKNK Festival, 2017[5]

http://www.argief.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news_item&news_id=64476&cause_id=1270

http://en.wikipedia.org/wiki/Reza_de_Wet

https://af.wikipedia.org/wiki/Reza_de_Wet

https://www.oberonbooks.com/reza-de-wet.html

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