ESAT Bibliography P-Pea
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P.G. du Plessis. 1985. Taalgenoot, 54(11):18.
Pacey, Bett 2011. The role of arts festivals in developing and promoting street theatre in South Africa. South African Theatre Journal, 25(3):227-244.
Pacey, Bett 2011. Trends in Twenty-first Century African Theatre and Performance, edited by Kene Igweonu. Reviewed in: South African Theatre Journal, 25(3):248-251.
Pacey, Bett 2014. The emergence and recognition of moffies as popular entertainers in the Cape Minstrel Carnival. South African Theatre Journal, 27(2):111-124.
PACOFS’s Black Theatre Company – the Kopano Group. 1988. Scenaria, (88): 25-26.
PACT 1972 Decade. Pretoria: PACT
Die Paddas (The Frogs): a Greek comedy by Aristophanes. 1977. Scenaria, August/September: 35.
Pakendorf, Gunther 1994. Dubbele siening; Trits, deur Reza de Wet. Reviewed in: New Contrast, 22/4:109.
Pakendorf, Gunther 1997. Opperman se apokaliptiese geskiedenisstuk: Donkerland. New Contrast, 25(4):109.
Paller, Michael 1988. Visions of Mecca: Athol Fugard. Theater Week, 1(38):8-13. May 2.
Pappageorge, Amy Abbott 1991. South Africa in transform ation: a trigger script as an instrument for revolutionary change. Unpublished master’s thesis. Chapel Hill: University of North Carolina.
Parker, Aida & Linfield, Pauline 1951. Arid plain they say - but rain is on the way. (Michael McNeile, Durban) Outspan, 49(1265):49,77.
Parker, E. 1968. Gilt and velvet [Theatre in Port Elizabeth]. South African Panorama, 13(12): 46-49.
Parker, Zoë Ann 2001. Standing up for the nation : an investigation of stand-up comedy in South Africa post-1994, with specific reference to women, power and the body. Unpublished master’s thesis. Durban: University of Natal.
Parker, Zoë Ann 2002. Standing up for the nation: An inverstigation of stand-up comedy in South Africa post-1994 with specific reference to women’s power and the body. South African Theatre Journal, 16:8-29.
Parr, T. & Hahn, C. 1977a. Some thoughts on a deadly theatre. Speak, 1(1):22-25. December.
Parr, T. & Hahn, C. 1977b. Some thoughts on a deadly theatre. Discussion. Speak, 1(3):18-20. May-June.
Parsons, Coilin 2011. Wating for Godot, by Samuel Beckett. Reviewed in: Theatre Journal, 63(2):257-260. (The article reviews the play Waiting for Godot, by Samuel Beckett and directed by Damon Galgut and Sean Mathias, performed at The Little Theatre and The Fugard Theatre in Cape Town, South Africa on May 25, 2010 and July 29, 2010).
Parsons, Neil 1999. "Clicko": Franz Taaibosch, South African Bushman entertainer in England, France, Cuba, and the United States, 1908-1940, in Lindfors, Bernth (ed.). Africans on stage : studies in ethnological show business. Bloomington, Ind.: Indiana University Press. 203=227.
Parsons, Neil 2009. Clicko: The Wild Dancing Bushman (a biography of Franz Taibosh, better known as Clicko the Clown). Johannesburg: Jacana Media, 2009).
Partridge, A.C. 1978. Actor and audience. Scenaria, (8):30-31.
Partridge, A. 1978. Modern theatre – introduction: the imponderables and the producer. Scenaria, (8):38-39
Pascal, Julia et al. 1984. Black dog. [collection of newspaper reviews for Barney Simon’s play]. London Theatre Record, 4(18):757. Aug. 27.
Paul Slabolepszy: drama 1983. 2009. In Watterson, Lore (ed.). Standard Bank Young Artist Awards, 25 years. Randburg [South Africa] : DeskLink Media. 228.
Pauw, D.A. 1974. Lusistrata van Arisophanes, vertaal deur J.P.J. van Rensburg. Reviewed in: Tydskrif vir Geesteswetenskappe 14(1):
Pearce Brian 1997. A Shakespeare adaptation at the Courtyard Theatre. Shakespeare in Southern Africa, 10:72.
Pearce Brian 1998a. Antony and Cleopatra at the Elizabeth Sneddon Theatre. Shakespeare in Southern Africa, 11:58.
Pearce Brian 1998b. The director and the South African theatre. South African Theatre Journal, 12(1&2):203-207.
Pearce Brian 2000, Fifty years of drama at the University of Natal. South African Theatre Journal, 14:99-201.
Pearce Brian 2001a. Editorial (Why study Shakespeare in South Africa?). Shakespeare in Southern Africa. 13:iii.
Pearce Brian 2001b. Elizabeth Sneddon. Shakespeare in Southern Africa, 13:100.-101.
Pearce Brian 2001c. Life copying art: Performance as a means of inverting racial and social stereotypes. South African Theatre Journal, 15:61-168.
Pearce Brian 2002a. Editorial. Shakespeare in Southern Africa, 14:iii.
Pearce Brian 2002b. Interview with Pieter Scholtz, 17 March 2002. Shakespeare in Southern Africa, 14:33-42.
Pearce Brian 2003a. Editorial. Shakespeare in Southern Africa, 15:iii.
Pearce Brian 2003b. Prospero's African magic: a post-colonial production of The Tempest. Shakespeare in Southern Africa, 15:39-45.
Pearce Brian 2003c. Reflections on theatre criticism. South African Theatre Journal, 17:245-252.
Pearce Brian 2003d. Twelfth Night directed by Paige Newmark for the Rhodes University Drama Department, presented at Kingswood College, 28th June 2003. Shakespeare in Southern Africa, 15:103.
Pearce Brian 2004. "Editorial." Shakespeare in Southern Africa, Jan. 2004: 1.
Pearce Brian 2005. Obituary: Elizabeth Sneddon. Shakespeare in Southern Africa, 17:
Pearce Brian 2006. Twelfth Night. Shakespeare in Southern Africa, 18:64-66.
Pearce Brian 2007. Hamlet/Hamlet deconstructed. Shakespeare in Southern Africa, 19:82-83.
Pearce Brian 2009. Coriolanus, Debbie Lutge: theatre review. Shakespeare in Southern Africa, 21(1): 3-84.
Pearce Brianand Duffy, K. 2010. Hamlet: Rational and Emotional Units of Meaning in Four Soliloquies. Shakespeare In Southern Africa. 22:21-28.
Pearlman, E. 1997. The ‘unity of character’ and Shakespeare’s two Caskas. Shakespeare in Southern Africa, 10:1-12.
Pearson, N. 1967. Subject or child? : book review. Development Through Drama by Brian Way. Reviewed in: Transvaal Educational News, 63(5): 11.
Click on the appropriate letters of the alphabet in the sub-list below.
P-Pea Peb-Ph Pia-Pie Pif-Po Pra-Pz
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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
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