Background, origins and history
Background and origins
ESAT began as a research and documentation project, A Companion to South African Theatre and Performance (COMSAT) which was originally conceived and initiated by Temple Hauptfleisch in 1994, when he founded the Centre for Theatre and Performance Studies at the University of Stellenbosch. The aim was to involve a range of researchers and students to compile a general reference work on South African theatre and performance which would make the results of academic and other research more readily accessible to the general reader and the theatre enthusiast. In this sense the basic aim was rather to condense and collate available information on all South African theatre and performance forms (as far as they have been documented) in a single volume and in a handy format, rather than undertake any comprehensive new research. A key model for this project was Phyllis Hartnoll’s famous Oxford Companion to the Theatre.
The working procedures for the original COMSAT project were relatively simple. The basic framework of the project was conceived by Temple Hauptfleisch, while the detail principles for the publication – and especially the the format for the entries (see below) – were devised by the Project Committee in consultation with the Advisors. With these in hand the members of the Project Committee thereupon did a basic search of the most prominent books and articles on South African theatre and performance, in order to compile a gross list of possible entries for the Companion. The gross list was then honed down to a basic shortlist of about 2000 entries, which were apportioned out to possible authors.
History
1994-2010
While the authors were working on the entries, the project’s co-ordinator Yvette Hutchison – with the help of Petra Malherbe of the University of Stellenbosch’s Data-centre, set about devising a computerized format for the various kinds of entries, utilizing the Microsoft’s Access programme. This would allow the team to continually update the basic information, and possibly publish revised versions of the book or go on to an online facility or a CD-rom based product.
When the original deadline for entries had come and gone in 1996, only 21 of the 80 people approached had accepted the contracts, 12 had submitted material, of which only 9 had had fulfilled their contracts completely and properly. (A few more submitted entries during 1997-8, bringing us to 11 contributors by 1999.) It became clear that the project was very close to getting bogged down. At a subsequent meeting, the Committee decided that the rest of the book would be written by Temple Hauptfleisch, assisted by Yvette Hutchison and some of the post-graduate students in the Department of Drama , while the two sub-editors – Edwin Hees and Arnold Blumer – would help with the final editing process. The current database is the result of all the aforementioned processes.
From 1994 to 2010 the project expanded almost exponentially, generating over 10 000 individual entries and a number of sub-sections, including an overview of theatre and performance in the country, a chronology of theatre events (in the context of social, cultuiral and political events), a comprehensive bibliography and annotated lists of plays and performances.
This database of more than 2000 pages soon became a core resource for the research undertaken by the staff of the Centre for Theatre and Performance studies as well as the staff and students of the Drama Department. Gradually international enquiries also begtan to come in to the Centre.
In view of this interest the pressure to publish the material in some form began to grow. However, it slowly became clear that that (a) few publishers were really interested in a publication of this enormous size and (b) as the material still kept on increasing , much editing still needed to be done, and there was an enormous amount of information still lacking. Thus the research team began to explore other possibilities. The most promising seemed to be an online version of the database, done in consultation with the Stellenbosch University's IT section and the J.S. Gericke Library.
So, in May 2010 a meeting was held with Ms Ina Smith head of SUNScholar and Mr Hilton Gibson IT specialist for the J.S. Gericke Library, to create a website for The Encyclopaedia of South African Theatre and Performance (ESAT). (See http://esat.sun.ac.za/index.php/Main_Page) This would form part of the University of Stellenbosch's Libopedia programme. The various templates were now developed, the staff were trained and transferral of the data to the ESAT file began in July 2010.
2010-2011
In this period the bulk of the original material was transferred to the new ESAT website by a number of student-assistants and Ms Miriam Terblanche, the project's research assistant and administrator. The entries were uploaded as they were, unedited as yet. At the end of 2011, the University opened up the website to readers and internet users, and a circular was sent out to alert potential users of its existence and inviting their help in expanding, correcting and improving the resource.
2012-2014
Four events of major importance occurred in this period.
(1) The expansion of the scope of the Encylopaedia to include film and media. This is perhaps the most radical event in the past year and has also been the project's most noticeable achievement, one which began with a request from film specialist Freddy Ogterop, to become a part of the project and to upload his large digital database on South African film (narrative and documentary film) onto the ESAT website, for use by researchers. This offer was eagerly accepted by the research team and after much discussion and experimentation led to a significant change in the name and scope of the project, and a restructuring of virtually the entire online publication. The editorial board finally decided to rename the project the Encyclopaedia of South African Theatre, Film, Media and Performance (but retaining ESAT as the acronym). In addition, provision was now made for three sub-editors, one for Theatre (Hauptfleisch), one for Film (Ogterop) and one for Media (still being sought).
(2) The contributors were helped to refine their knowledge and use of the Wiki-programme as a documentation system for ESAT. For example: A number of templates were developed tested and finalised for all the sections of the encylopaedia , not only to facilitate writing, uploading and editing of entries, but also for use in training new research associates, and to serve as guidelines for the growing number of contributors submitting material to the encyclopaedia. More than 40 applications for registration as account users or online contributors were received in December-January alone In addition at least five people have donated archival materials to the ESAT for processing. (The materials will be placed in an appropriate facility once the writing up has been completed)
(3) Approximately 12 000 new entries (or lemmas) were researched, written and edited, before being uploaded onto the ESAT website by the four current commissioned researchers. (This in addition to numerous changes, corrections and additions to the existing set of over 30 000 entries.) The material was primarily garnered from secondary and primary sources in the CENTAPS library, the South African Library, the Internet and two private databases: the film database compiled by Freddy Ogterop and a database of based on a content analysis of theatre reviews and articles from 1994-2003 by Johann van Heerden.
(4) Temple Hauptfleisch and the ESAT team were invited to become involved in an attempt to devise a national strategy for the preservation of theatre materials and to collaborate with the project "SA Drama and Theatre Heritage", launched by Marisa Keuris and her research team at UNISA. Three planning meetings have been held, to determine how the archive project at UNISA and the ESAT database may collaborate and support each other. A seminar on theatre archives was also held at the Aardklop Arts Festival in Potchefstroom in September, with Temple Hauptfleisch as one of the panellists.
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