Difference between revisions of "Aurora"

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= Aurora as name =
 
= Aurora as name =
  
Name, deriving from the Latin term for "dawn" and referring to the goddess of the dawn in Roman mythology, was used by two or three amateur theatre organizations in the Cape in the 19th century. Probably intended to reflect the cultural aspirations of the emerging South African [[Dutch]] and [[Afrikaans]] culture at the time.
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Name, deriving from the Latin term for "dawn" and referring to the goddess of the dawn in Roman mythology, was used by two or three amateur theatre organizations in the Cape in the 19th century. Probably intended to reflect the cultural aspirations of the emerging South African [[Cape-Dutch]] and [[Afrikaans]] culture at the time.
  
 
=Theatrical companies named [[Aurora]]=
 
=Theatrical companies named [[Aurora]]=
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Established in Cape Town as a closed society  under the motto ''[[Onvermoeide vlijt komt alles te boven]]'' ("Untiring hard work overcomes everything"), the rest of its members consisted of leading [[Dutch]] and [[Cape-Dutch]] families. Among them were such [[Dutch]] performers as [[P. Koster]], [[N.C. Koster]], [[P.W. Keytel]], [[J. Keytel]], [[G. van Heerde]], [[J.M. Belinfante]], [[P. Faddegon]], [[J. de Jongh]], [[C. Kruze]], [[H.P. de Krielen]], [[J. Klerck]] and [[J. Kurtz]]. Especially notable were a number of [[Dutch]]-speaking [[Afrikaners]], including [[J.H. Laubscher]], [[Mr Wiehahn]], [[W.G. Combrink]], [[D.H du Toit]], [[J. Brink]], [[M.J. Brink]] and [[H.W. Teengs]]. A number of these people contributed plays for performance, such as  [[J.M. Belinfante]], [[P. Faddegon]], [[N.C. Koster]] and especially [[H.W. Teengs]]. However, perhaps its best known writer and member was actor, director and playwright [[Melt J. Brink]] (1842-1925), who soon became its secretary and guiding light, remaining in this position till 1887, and wrote fourteen comedies for performance by the company (See [[Melt J. Brink]]).  
 
Established in Cape Town as a closed society  under the motto ''[[Onvermoeide vlijt komt alles te boven]]'' ("Untiring hard work overcomes everything"), the rest of its members consisted of leading [[Dutch]] and [[Cape-Dutch]] families. Among them were such [[Dutch]] performers as [[P. Koster]], [[N.C. Koster]], [[P.W. Keytel]], [[J. Keytel]], [[G. van Heerde]], [[J.M. Belinfante]], [[P. Faddegon]], [[J. de Jongh]], [[C. Kruze]], [[H.P. de Krielen]], [[J. Klerck]] and [[J. Kurtz]]. Especially notable were a number of [[Dutch]]-speaking [[Afrikaners]], including [[J.H. Laubscher]], [[Mr Wiehahn]], [[W.G. Combrink]], [[D.H du Toit]], [[J. Brink]], [[M.J. Brink]] and [[H.W. Teengs]]. A number of these people contributed plays for performance, such as  [[J.M. Belinfante]], [[P. Faddegon]], [[N.C. Koster]] and especially [[H.W. Teengs]]. However, perhaps its best known writer and member was actor, director and playwright [[Melt J. Brink]] (1842-1925), who soon became its secretary and guiding light, remaining in this position till 1887, and wrote fourteen comedies for performance by the company (See [[Melt J. Brink]]).  
  
Initially no women were allowed to be members and men played the female parts, but according to ** women became part of the association from 11 July 1876, when a woman finally appeared in a production (''[[Het Ijzerin]]''), at the [[Oddfellows Hall]]. ([[F.C.L. Bosman]], 1980,  however says this breakthrough for women only came in 1881, and the person in question was a miss [[Anna Koster]].)  
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Initially no women were allowed to be members and men played the female parts, but according to ** women became part of the association from 11 July 1876, when a woman finally appeared in a production (''[[Het Ijzeren Masker]]''), at the [[Oddfellows Hall]]. ([[F.C.L. Bosman]], 1980,  however says this breakthrough for women only came in 1881, and the person in question was a miss [[Anna Koster]].)  
  
Although initially loyal to the British authorities, it steadily became a standard-bearer for the emergent [[Dutch-Afrikaans]] nationalism.  However, its [[Dutch]] orientation gradually alienated it from the mainstream [[Afrikaans]] theatre.  
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Although initially loyal to the British authorities, it steadily became a standard-bearer for the emergent [[Cape-Dutch]] (and ultimately [[Afrikaans]]) nationalism.  However, its [[Dutch]] orientation gradually alienated it from the mainstream [[Afrikaans]] theatre.  
  
 
[[Aurora]] was temporarily suspended during the first war of independence ("[[Eerste Vryheidsoorlog]]" or the [[First Anglo-Boer War]]) in 1880, and by 1887 had ceased to perform. It formally became defunct in 1890. [[Boer War]]
 
[[Aurora]] was temporarily suspended during the first war of independence ("[[Eerste Vryheidsoorlog]]" or the [[First Anglo-Boer War]]) in 1880, and by 1887 had ceased to perform. It formally became defunct in 1890. [[Boer War]]
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[[Aurora]] and [[Melt Brink]] were both honoured for their contribution to [[Dutch]] culture by the [[Dutch]] government in 1873.
 
[[Aurora]] and [[Melt Brink]] were both honoured for their contribution to [[Dutch]] culture by the [[Dutch]] government in 1873.
  
=== Productions ===
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=== Theatrical activities ===
  
[[Aurora]] followed the [[Dutch]] pattern of concentrating on poetry and plays under the guidance of professional teachers. Initially they tended to fragments from plays and poems by a range of [[Dutch]] poets and playwrights, but after Brink took over, they began to perform complete works as well, gradually also performing plays by local authors such as [[H.W. Teengs]] and [[Melt Brink]].  
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[[Aurora]] followed the [[Dutch]] pattern of concentrating on poetry and plays under the guidance of professional teachers. Styling their theatrical evenings a s "meetings" , they initially tended to present fragments from plays and poems by a range of [[Dutch]] poets and playwrights, but after Brink took over, they began to perform complete works as well, a number written specifically for the [[Rederijkers]] movement in Holland and Belgium (notable examples being a large number of works by authors such as  Arnold,  E. Nieuwmeyer, J. Schuitemaker, A.A. van der Stempel Jr. and T. van der Stempel), and gradually also performing plays by local authors, among whom [[H.W. Teengs]] and [[Melt Brink]] himself.  
  
[[Aurora]] never had its own premises, but performed in a variety of halls and theatres in and around Cape Town, including the [[Liedertafel Germania]] (or [[Germania Hall]]), cnr Hout and Loop streets, the [[Oddfellows Hall]] in Plein Street, and "de zaal van den Heer Hutchinson" ([[Hutchinson's Hall]]) in Nieuw Street. As a result productions were simply and portably done, and the authors had to bear this in mind.  
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[[Aurora]] never had its own premises, but performed in a variety of halls and theatres in and around Cape Town, including the [[Liedertafel Germania]] (or [[Germania Hall]]), cnr Hout and Loop streets, the [[Oddfellows Hall]] in Plein Street, and "de zaal van den Heer Hutchinson" ([[Hutchinson's Hall]]) in Nieuw Street, also known as the [[Athenaeum Hall]]. As a result productions were simply and portably done, and the authors had to bear this in mind.
  
'''Some performances:'''
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Between 1866 and 1887 they did a sum total of 103 "meetings", plus another 15 which offered repeats of the programmes from previous meetings.
  
1866: Performed segments (acts one and five) from the tragedy ''[[Montigny]]'' (Klijn) on 15 November.
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===Some performances===
  
1867: Performed the one act farce ''[[Tante Trui, Een Liefdesgeschiedenis]]'' on 4 July.
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''(Only plays performed for the '''first time''' by [[Aurora II]] in the particular year are given - further productions or repeats of the specific play will be listed in the entry on the play. For a full list of all performances, see [[F.C.L. Bosman]], 1980: pp. 462-474.)''
  
1867: Performed the one act farce ''[[Jan Sukkel]]'' on 8 August.
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'''In 1866-67:''' Besides recitals of poems, they performed segments form a few plays in the hall of the [[Liedertafel Germania]], Cape Town, including ''[[Montigny]]'' (Klijn), ''[[Tzaar Peter, Keizer van Rusland]]'', ''[[Lodewijk XI]]'' (Delavigne/Schimmel), ''[[Hambroek]]'' (Nomsz), ''[[Gustaaf Wasa]]'' (Von Kotzebue/Van Heyst).  A few shorter plays were also performed in there entirety, among them ''[[Tante Trui, Een Liefdesgeschiedenis]]'' (Arnold),  ''[[Jan Sukkel]]'' (Arnold), ''[[Niet of Graag]]'' (Andersen), ''[[Een Hedendaagsch Duel]]'' (Guiseppe).  
  
1867: Performed segments from the tragedy ''[[Lodewijk XI]]'' on 3 October.  
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'''In 1868''' the productions take on a more traditional character, full plays being performed alongside the popular recitals. Besides repeats from the previous period, '''new''' plays done this year included ''[[Het Vierde Huwelijk van Jacoba van Beijeren]]'' ([[H.W. Teengs|Teengs]]),  ''[[Uitgefloten]]'' (Arnold),  ''[[De Arme Rykaard]]'' (Nieuwmeyer),  ''[[Ferdinand de Speler]]'' (Nieuwmeyer), ''[[Bergen en Dalen]]'' (Benedix and Schuitemaker), ''[[Willem Nel]]'' ([[H.W. Teengs|Teengs]]), ''[[De Oudste Zoon]]'' (Van de Velde), ''[[Bertram de Cipier]]'' (Arnold), ''[[De Twee Huisknechts, of De Bedrieger Bedrogen]]''  (Arnold), ''[[Manke Koos]]'' (Arnold) and ''[[Opstand 1815]]'' ([[H.W. Teengs|Teengs]]).  
  
1869: Performed by [[Aurora|Aurora II]] in the [[Wynberg Aided School]], Wynberg, Cape Town in August, as an afterpiece to [[H.W Teengs]]'s locally written [[Dutch]] play ''[[Willem Nel]]''.
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'''In 1869:''' The '''new''' plays done in this year included ''[[De Moord van Dingaan aan Pieter Retief]]'' ([[H.W. Teengs|Teengs]]), ''[[No. 99]]'' (Arnold), ''[[Het Origineele Testament]]'' ([[Melt Brink|Brink]]), ''[[Het Laatste Levensuur van een Oranjeklant]]'' (Arnold), ''[[De Plaatsvervanger]]'' (Arnold), ''[[De Liefhebbery Comedie in de War]]'' (A.A. van der Stempel), ''[[Frank, de Gierigaard]]'' (Arnold), ''[[De Vriend Tegen Wil en Dank]]'' (A.A. an der Stempel), ''[[Het Spook, of de Bekering van Dr Peperhoofd]]'' ([[Melt Brink|Brink]]), ''[[Een Droom]]'' (Arnold), ''[[Goede Harten]]'' (Schuitemaker), ''[[Verkeerd Bezorgd]]'' (T. van der Stempel).
  
1868: ''[[Uitgefloten]]'' (Anon) and ''[[De Arme Rykaard]]'' (Nieuwmeyerperformed in the hall of the [[Liedertafel Germania]], Cape Town on 7 May.
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'''In 1870:''' This year saw a number of works by T. van der Stempel among the '''new''' works done by the company, which included ''[[Rocco]]'' (Arnold), ''[[Liberaal en Conservatief, of De Verkiezingsrage]]'' (A.A. van der Stempel Jr), ''[[De Opkomst van het Huis Rothschild]]'' (T. van der Stempel), ''[[Liefde, Vriendschap en List]]'' (T. van der Stempel),  ''[[Gustaaf Heller, of Het Offer der Verleiding]]'' (T. van der Stempel), ''[[Een Ongelukkig Minnaar, of De Mislukte Liefdesverklaring]]'' (T. van der Stempel), ''[[Retief Gewroken]]'' ([[H.W. Teengs|Teengs]]), ''[[Het Spook]]'' ([[Melt Brink|Brink]]), ''[[Het Testament]]'' (Van de Velde), ''[[Twee Emmers Water]]'' (), ''[[Miskend]]'' (Meys), ''[[Hans de Kruyer in 't Verhoor]]'' (Schoonhoven and Van Nooten), ''[[Een Offer der Vrijheid]]'' (Schuitemaker), ''[[Naar de Diamant Velden]]'' ([[Melt Brink|Brink]]) and ''[[De Nieuwe Landheer, of De Gewaande Marquis]]'' (Engelman).
  
1868: The locally written Dutch plays ''[[Willem Nel]]'' and the afterpiece  ''[[Opstand 1815]]'' ("Rebellion 1815") , both by [[H.W. Teengs]], performed in July  in Cape Town.  
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'''In 1871:''' The '''new''' work performed in this year included ''[[In den Kerker van Simancas]]'' (Van der Bergh), ''[[Een Uurtje op 't Kantoor]]'' (Egmond), ''[[Misdaad en Wroeging]]'' (Meys), ''[[De Weddenschap]]'' ([[Melt Brink|Brink]]), ''[[Een Uurtje in een Schilders-Ateljelier]]'' (Houtcamp), ''[[De Tovenaar, of De Geest in de Kast]]'' ([[Melt Brink|Brink]]), ''[[De Bloedgetuigen]]'' (N.N.), ''[[Een Stoute Daad]]'' (Jaco), ''[[Het Hotel Wittebrood]]'' (Van Buren), ''[[De Boodschapper op Loevestein]]'' (Kroon), ''[[Knoopen in den Zakdoek]]'' (Anon), ''[[Twee Oude Gekken in de Klem]]'' (Van der Stempel), ''[[Een Reis met Hindernissen, of De Speler Bekeerd]]'' ([[Melt Brink|Brink]]), ''[[De Wees uit het Gebergte]]'' (Nieuwmeyer), ''[[Zonder Geld op Reis]]'' (A.A. van der Stempel Jr).  
  
1868: ''[[Willem Nel]]'' performed in Paarl later in July, with the farce ''[[Niet of Graag]]'' (Anon) as afterpiece.  
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'''In 1872:''' Another full year with the following '''new''' works performed: ''[[De Dochter van Dominique]]'' (Van der Hoop), ''[[Willem van Oranje, of Vijftien Jaren uit de Geschiedenis]]'' (Durand/G. de J.), ''[[Dood of Niet Dood]]'' (), ''[[De Drie Verliefde Schoolmeesters]]'' ([[Melt J. Brink|Brink]]), ''[[Getrouwheid]]'' (De Jager), ''[[Schout Papegaai]]'' (), ''[[De Vadervloek, of Misdaad en Wroeging]]'' (J. van der Stempel), ''[[Wie is de Prins?]]'' (A.A. van der Stempel Jr), ''[[Een Oom uit Californië]]''  (Hoek), ''[[De Ster van de Noorden]]'' (Belinfante), ''[[Een Muzikale Gek]]'' (Koster), ''[[Een Lotery]]'' ([[Melt Brink|Brink]]), ''[[Een Bloedgetuie]]'' (Schuitemaker) and ''[[De Kater, of De Verdronken Minnaar]]'' ([[L. van Hogezand|Van Hogezand]]).
  
1869: ''[[Het Origineele Testament]]'' (Melt Brink) performed at the [[Germania Hall]] on 29 April
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'''In 1873:''' This year had slightly fewer productions, '''new''' titles being ''[[Onteerd]]'' (Anon), ''[[Een Jaloersche Dwaas]]'' (A.A. van der Stempel Jr), ''[[De Diamanten der Kroon]]'' (Belinfante), ''[[Die Val van die Hertog van Alba]]'' (Schuitemaker), ''[[De Onaangename Huishoudster]]'' ([[Melt Brink|Brink]]), ''[[De Bloedzuigers, of De Minnehandel in de Apotheek]]'' (Ruysch), ''[[Het Kind van den Huize]]'' (Farber), ''[[Haat en Liefde]]'' (Bonin/Moolenijzer), ''[[Trouw Beloond, of De Zegepraal de Onschuld]]'' ([[Melt Brink|Brink]]), ''[[Hij moet Duelleren]]'' (A.A. van der Stempel Jr).
  
1869: ''[[Willem Nel]]''  performed in Bloemfontein under the auspices of President [[J.H. Brand]] on 8 July.
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'''In 1874:''' The productions fewer than before, only six evenings recorded, but most plays performed were '''new''' works, including ''[[Vader en Zoon]]'' (Ankersmit), ''[[Een Oude Rat in de Val]]'' (Schuitemaker), ''[[Twee Dooven]]'' ([[Melt Brink|Brink]]), ''[[De Misdadigers, of Loon naar Werken]]'' ([[Melt Brink|Brink]]), ''[[Zonder Geld op Reis, of Een Avontuurtje van Twee Schoolmeesters]]'' (A.A. van der Stempel Jr), ''[[Huzaar en Pandoer]]'' (Schücking/Faddegon), ''[[Het Losse Schot]]'' (Holtrop), ''[[Arthur de Beaumont, of De Franctireur van Neufville]]'' (A.A. van der Stempel), ''[[Een Misverstand]]'' (Faddegon), ''[[Een Oud Soldaat]]'' (Nieuwmeyer) and ''[[Het Hotel Wittebrood]]'' (Van Buren).  
  
1869: ''[[Willem Nel]]'' performed in Wynberg in August , with ''[[Tante Trui]]’’ - i.e. "Aunt Pullover") as afterpiece.
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'''In 1875:''' In this year the performances move to the [[Athenaeum Hall]] in Cape Town, with the following '''new''' plays. ''[[De Vadersvloek, of Misdaad en Wroeging]]'' (T. van der Stempel), ''[[Een Avontuurtje van Mijnheer Kikkerlib]]'' (T. van der Stempel), ''[[De Tijdgeest]]'' ([[Melt J. Brink|Brink]]) , ''[[Het Testament voor eene Slavin]]'' (Faddegon), ''[[Een Vergeetachtig Man]]'' (N.N.), ''[[De Twee Broeders]]'' (Brunings), ''[[De Uniformrok van Veldmaarschalk Wellington]]'' (Von Kotzebue), ''[[Geschiedkundig Dramatisch Episode uit Leven van Johan de Witt, Raadpensionaris van Holland, "1672"]]'' (Loosjes), ''[[Broederhaat, of Het Einde van Een Booswicht]]'' (Heroldt), ''[[De Regtvaardige Vergelding]]'' (Kind) and ''[[De Hoogste Wensch]]'' (De Regt).
  
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'''In 1876:''' In this year the only used the [[Oddfellows Hall]], the few '''new''' plays including ''[[Een Huis te Koop]]'' (Duval/Leonard), ''[[Het Ijzeren Masker]]'' (Schokke), ''[[Engeland in het Jaar 1651, of Deugd en Misdaad]]'' (Ziegler/Roobol) and ''[[De Zaakwaarnemer]]'' (F. van der Stempel).
  
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'''In 1877:'''  In this year the only used the [[Athenaeum Hall]] and tended to do only one long play per evening. The few '''new''' plays included ''[[Lazaro de Verhoeder, of Misdaad en Wraak]]'' (Bouchardy/Tiggelaar), ''[[De Offers der Vrijheid, of De Slagers van Ghent]]''  ([[Melt J. Brink|Brink]]), ''[[De Verstrooiden]]'' (Van Kotzebue/Van Holtrop), ''[[Het Veemgericht, of Misdaad en Grootmoedigheid]]'' (Ziegler) and ''[[Gustavus, of De Zweedsche Mijnwerkers]]'' (Martelière).
  
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'''In 1878:'''  Only three theatre evenings are recorded for this year, but a number of '''new''' plays were performed, including ''[[Arthur, of Zestien Jaren Later]]'' (Burlage), ''[[Een Huwelijksadvertentie, of De Geplaagde Schoolmeester]]'' (Broekhoff), ''[[De Verloren Zoon, of De Twee Broeders]]'' (Brunings), ''[[Hy  Moet Er Uit en Hy Zal Er Uit]]'' (Meys), ''[[De Baron van Felsheim, of De Slag bij Friedberg]]'' (Bernos) and ''[[Een Kapitale Erfenis, of De Corsikaansche Bloedwraak]]'' (Anon.).
  
1876: ''[[Het Ijzerin]]'' (Anon), at the [[Oddfellows Hall]] on 11 July.
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'''In 1879:''' Things picked up a little, though the new practice of doing only one long play per evening seemed to occur more . The few '''new''' plays among them include ''[[De Wees van Brussel]]'' (Ruysch), ''[[De Geduchte Rechtbank]]'' (Martélière), ''[[De Gebochelde, of De Moord in de Slotgracht van Tayhis]]'' (Regland).
  
1877: ''[[De Offers der Vrijheid of De Slagers van Ghent]]'' in 1877
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'''In 1880:'''  Once more only three theatre evenings are recorded, but this was made up of six '''new''' plays. ''[[Onteerd]]'' (Henle), ''[[Een Lastige Overbuur]]'' (A.A. van der Stempel Jr), ''[[Een Oujaarsavond]]'' (Dikema), ''[[Het Bedrogen Drietal]]'' (Gillissen), ''[[De Struikroovers van Kalabrien, of De Onveilige Wildernis]]'' by (Tréogate/Engelman), ''[[Joost Uilenspiegel]]'' (Broekhoff).
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'''In 1881:'''  Another slow year, with four theatre evenings, comprising the following '''new''' plays. ''[[Getrouwheid, of De St. Bartholemeusnacht van het Jaar 1572]]'' (De Jager), ''[[Flik en Flok]]'' (Metz), ''[[De Boodschapper, of Loevestein in 1570]]'' (Kroon), ''[[Hans de Kruier]]'' (Anon.), ''[[De Eer eens Vaders]]'' (Broekhoff), ''[[De Neef uit Oost-Indië]]'' (Sinderam) and ''[[Stille Jan]]'' (Arnold).
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'''In 1882:''' Very few performances this year, with no '''new''' plays - all being repetitions from previous years.
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'''In 1883:''' Performances only resume late, the company playing five times in August of this year, with the following '''new''' plays. ''[[Pierre de Galeiboef, of De Onschuldige Veroordeelde]]'' (Culp), ''[[Speculeren, of Misdadig uit Kinderliefde]]'' (Broekhoff), ''[[De Onbekende Schoone]]'' (Broekhoff),  ''[[Het Zakboek]]'' (Von Kotzebue) and ''[[Levend Verbrand]]'' (Leonard).
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'''In 1884 and 1885: No performances'''
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'''In 1886:''' After no performances in the intervening years, this became a relatively busy year with five evenings, introducing the following '''new''' plays. ''[[De Hugenoten]]'' (Meyerbeer, Scribe and Deschamps), ''[[Liefde voor het Vaderland]]'' (A.A. van der Stempel Jr),  ''[[Het Brandmerk, of De Twee Galeiboeven]]'' (Boirie, Carmouche and Poujol), ''[[De Hoed van den Horlogemaker]]'' (De Girardin), ''[[De Montfordt's]]'' (Bergh), ''[[De Zwarte Kapitein]]'' (Leonard).
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'''In 1887:''' The final meeting by [[Aurora|Aurora II]] took place on 12 July in the [[Drill Hall]], Cape Town and consisted of performances of ''[[Moederliefde en Heldenmoed, of De Gevangenis op het Slot 's Gravensteen te Antwerpen]]'' (Ruysch) and ''[[De Verstrooiden]]'' (Holtrop).
  
 
== [[Aurora III]], Cape Town (1909-1914)==
 
== [[Aurora III]], Cape Town (1909-1914)==
  
A new [[Aurora]] was established as the theatre-division of the [[Algemeen Nederlandsch Verbond]] ([[A.N.V.]]),a  cultural association in Cape Town, in 1909. This was probably done in association with  members of the - by then defunct - former [[Rederijkerskamer]] (oratory-club) ([[Aurora II]]).  It was led by [[Melt Brink]] as chair, with [[P. Koster]] as vice-chair, [[Gerrit van Heerde]] as secretary, and ordinary members [[Olga van Oordt]] and [[Cath. Doyer]]. The new company lasted till 1914.  
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It would appear that there was an initial attempt in 1901 to revive [[Aurora]] under the Cape Town branch of the [[Algemeen Nederlandsch Verbond]] ([[A.N.V.]] (1901-1903), a  cultural association in Cape Town situated in Queen Victoria Street. The committee was chaired by Melt J. Brink]], with Gerrit van Heerde as secretary. However no trace of performances could be found.
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A new [[Aurora]] was finally established in 1908 with the revival of the [[A.N.V.]], and it became the theatre-division of the [[Algemeen Nederlandsch Verbond]]. This was probably done in association with  members of the former [[Rederijkerskamer]] (oratory-club) ([[Aurora II]]).  It was again led by [[Melt Brink]] as chair, with [[P. Koster]] as vice-chair, [[Gerrit van Heerde]] as secretary, and ordinary members [[Olga van Oordt]] and [[Cath. Doyer]].  
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Besides the executive members, the permanent amateur performers for the company also included [[Mr Wartema]], [[Mrs Wartema]], [[J.E. de Villiers]], [[E.H. Lucouw]], [[A.E.F. Lucouw]], [[W. Kuperus]], [[C.G.G. Cuchet]], [[A. Kromberg]], [[D. de Groot]], [[Mrs Van Venlo]], [[Mr Daleboudt]], [[R. van Gelderen]], [[J.W. van Lint]], [[J.A.G. Bremer]], [[J.P. Feenstra]] and [[J.H. Moll]].
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The new company lasted till 1914, though there are only records of performances for the years 1909-1912. The year 1913 saw no performances recorded in the annual report and, though there were plans to renew performance activity in 1914. However, circumstances caused the company to suddenly announce a halt in productions shortly after their meeting of 14 March, 1914. Nothing is heard of  [[Aurora]] or the theatre division after that, though the [[ANV]] continued to  exist well into the 1980s.
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===Performances===
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''(Performances usually took place in the '''[[ANV Saal]]''', and were done on nights when [[ANV]] meetings took place. Only plays performed for the '''first time''' by [[Aurora III]] in the particular year are given - further productions or repeats of the specific play will be listed in the entry on the play. For a full list of all performances, see [[F.C.L. Bosman]], 1980: pp. 476-478.)''
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'''In 1909:''' The first year opened on 3 August with ''[[Di Koekdief]]'' ([[Nemo]]), ''[[De Oude en de Nieuwe Tijd]]'' (duologue, anon.) and ''[[Kluchtige Gerechtszitting]]'' (Anon.). The following evenings saw performances of ''[[De Gouvernante]]'' (Körner), ''[['t Is Maar Een Kind]]'' (Anon), ''[[Het Geheim van Mevrouw]]'' (J.R.),
  
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'''In 1910''': ''[[Het Testament]]'' (Van de Velde),  ''[[Zwarte Piet]]'' (E.S.), ''[[By die Tandedokter]]'' ([[Melt J. Brink|Brink]]), ''[[De Twee Verstrooide Militairen]]'' (Kotzebue/Royaards), ''[[Hans de Portier (Kruyer) in 't Vehoor]]'' (Anon.), ''[[Een Rooie Tydens de Kroningsfeesten]]'' (M.C.), ''[[Graag of Niet]]'' (Andersen), ''[[Bekroond]]'' (Bosch),  ''[[Een Gevaarlijke Sujet]]'' (Franzen), ''[[De Assurantie]]'' ([[Melt J. Brink|Brink]]).
  
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'''In 1911''': ''[[De Hypnotiseur]]'' (Van der Lint), ''[[Daar is Meneer]]'' (Anon.), ''[[De Gedroomde Schoonzoon]]'' (Redingius), ''[[Kort van Memorie]]'' (A.A. van der Stempel Jr.), ''[[List van Vrouwen]]'' (Anon.).
  
'''[***CHECK  BOSMAN/NIENABER**] AURORA.'''
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'''In 1912''': ''[[Een Kistje met Kruid]]'' (Anon.), ''[[Een Don Juan tegen Wil en Dank]]'' (Anon.), ''[[De Huishoudster van Twee Oude Heeren]]'' (F.W.B.) and ''[[Het Testament van de Wed. Poot]]'' (Souvestre/Stuart).
  
 
= Sources =
 
= Sources =
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459 Rederijkerskamer "Streven Naar Volmaking" te Kommerzijl, 1857 - C. 1962 ( Groninger Archieven )[https://www.archieven.nl/nl/zoeken?mivast=0&mizig=210&miadt=5&miaet=1&micode=459&minr=3447546&miview=inv2&milang=nl]
 +
 +
Joris Baers (1888-1975): Algemeene Tooneelbibliotheek Een historische collectie theaterteksten in de Erfgoedbibliotheek Hendrik Conscience[http://doczz.nl/doc/783/joris-baers--1888-1975---algemeene-tooneelbibliotheek-een]
  
 
[[Ludwig Wilhelm  Berthold Binge]]. 1969. ''Ontwikkeling van die Afrikaanse toneel (1832-1950)''. Pretoria: J.L. van Schaik: pp. 6-14
 
[[Ludwig Wilhelm  Berthold Binge]]. 1969. ''Ontwikkeling van die Afrikaanse toneel (1832-1950)''. Pretoria: J.L. van Schaik: pp. 6-14
  
[[F.C.L. Bosman]]. 1980. ''Drama en Toneel in Suid-Afrika, Deel II, 1856-1912''. Pretoria: [[J.L. van Schaik]]:pp.457-61.
+
[[F.C.L. Bosman]]. 1980. ''Drama en Toneel in Suid-Afrika, Deel II, 1856-1912''. Pretoria: [[J.L. van Schaik]]:pp.457-478.
   
+
 
 +
[[Elizabeth Conradie|Conradie, Elizabeth]]. 1934. ''Hollandse skrywers uit Suid-Afrika. Deel 1 (1652-1875) 'n Kultuur-historische studie''. Pretoria, [[J.H. de Bussy]] and Cape Town [[H.A.U.M.]].[http://www.dbnl.org/tekst/conr002holl01_01/index.php]
 +
 
 +
[[Elizabeth Conradie|Conradie, Elizabeth]], 1949. ''Hollandse skrywers uit Suid-Afrika. Deel 2 (1875-1905) 'n Kultuur-historische studie''. Pretoria, [[J.H. de Bussy]] and Cape Town [[H.A.U.M.]].[http://www.dbnl.org/tekst/conr002holl02_01/index.php]
 +
 
 
[[P.J. du Toit]]. 1988. ''Amateurtoneel in Suid-Afrika''. Pretoria: Academica
 
[[P.J. du Toit]]. 1988. ''Amateurtoneel in Suid-Afrika''. Pretoria: Academica
  
 
[[Jill Fletcher]]. 1994. ''The Story of Theatre in South Africa: A Guide to its History from 1780-1930''. Cape Town: Vlaeberg: p.
 
[[Jill Fletcher]]. 1994. ''The Story of Theatre in South Africa: A Guide to its History from 1780-1930''. Cape Town: Vlaeberg: p.
 +
 +
[[Ingmar Koch]]. 1997. Het ochtendgloren boven Kaapstad. Nederlandse rederijkers in Kaapstad, ''Tydskrif vir Nederlands & Afrikaans''. (4de Jaargang, Nommer 2. Desember)[http://www.savn.org.za/images/stories/documents/TNA/TNA%2019972.pdf]
 +
 +
 +
  
 
Go to [[ESAT Bibliography]]
 
Go to [[ESAT Bibliography]]

Latest revision as of 05:24, 17 March 2018

Aurora as name

Name, deriving from the Latin term for "dawn" and referring to the goddess of the dawn in Roman mythology, was used by two or three amateur theatre organizations in the Cape in the 19th century. Probably intended to reflect the cultural aspirations of the emerging South African Cape-Dutch and Afrikaans culture at the time.

Theatrical companies named Aurora

There have been three such companies in South Africa, Dutch Rederijkerskamers (oratory-clubs), which also interested themselves in theatre. In later years writers (e.g. F.C.L. Bosman) distinguished between them by naming them Aurora I, Aurora II and Aurora III.

Aurora I, Paarl (1862-?)

A Dutch-language society called Aurora was apparently founded in Paarl by members of "Die Genootskap van Regte Afrikaners", though little of substance is known of it. Among its members were S.J. du Toit, D.F. du Toit ("Oom Lokomotief"), W.F. Stamrood, .

Intended to help establish and promote the Dutch language and culture in the face of the Anglicisation policies of the British government, it did occasional theatrical presentations, for cultural and other purposes. For instance it performed the Dutch plays Rocco by A. Wijnstok and Schijn Bedriegt ("appearances deceive") by "Neef Paul", along with recitals of lyric poetry, as its first production in August 1862 and during its existence also produced some of the earliest Afrikaans playtexts, notably the first translation of De Jonge Kunstschilder by ***, directed by "Oom Lokomotief" and performed in Paarl and Montagu. Bosman (1928:P. 463) also mentions a charity performance in 1865 for victims of floods in the Kuilsrivier area.

[**EXPAND**]

Aurora II, Cape Town (1866-1887)

History

The new Aurora was founded as formal and public Dutch Rederijkerskamer (oratory club) on 4 October 1866, the second such organization to be opened in the Cape Province (after Thespis). Its motto was "Onvermoeide vlijt komt alles te beoven" (The founders consisted of a number of new arrivals from Holland, including W.F. Stamrood, J. Stamrood, M. Stamrood, F. Koster, and M. Gÿselman.

Established in Cape Town as a closed society under the motto Onvermoeide vlijt komt alles te boven ("Untiring hard work overcomes everything"), the rest of its members consisted of leading Dutch and Cape-Dutch families. Among them were such Dutch performers as P. Koster, N.C. Koster, P.W. Keytel, J. Keytel, G. van Heerde, J.M. Belinfante, P. Faddegon, J. de Jongh, C. Kruze, H.P. de Krielen, J. Klerck and J. Kurtz. Especially notable were a number of Dutch-speaking Afrikaners, including J.H. Laubscher, Mr Wiehahn, W.G. Combrink, D.H du Toit, J. Brink, M.J. Brink and H.W. Teengs. A number of these people contributed plays for performance, such as J.M. Belinfante, P. Faddegon, N.C. Koster and especially H.W. Teengs. However, perhaps its best known writer and member was actor, director and playwright Melt J. Brink (1842-1925), who soon became its secretary and guiding light, remaining in this position till 1887, and wrote fourteen comedies for performance by the company (See Melt J. Brink).

Initially no women were allowed to be members and men played the female parts, but according to ** women became part of the association from 11 July 1876, when a woman finally appeared in a production (Het Ijzeren Masker), at the Oddfellows Hall. (F.C.L. Bosman, 1980, however says this breakthrough for women only came in 1881, and the person in question was a miss Anna Koster.)

Although initially loyal to the British authorities, it steadily became a standard-bearer for the emergent Cape-Dutch (and ultimately Afrikaans) nationalism. However, its Dutch orientation gradually alienated it from the mainstream Afrikaans theatre.

Aurora was temporarily suspended during the first war of independence ("Eerste Vryheidsoorlog" or the First Anglo-Boer War) in 1880, and by 1887 had ceased to perform. It formally became defunct in 1890. Boer War

Aurora and Melt Brink were both honoured for their contribution to Dutch culture by the Dutch government in 1873.

Theatrical activities

Aurora followed the Dutch pattern of concentrating on poetry and plays under the guidance of professional teachers. Styling their theatrical evenings a s "meetings" , they initially tended to present fragments from plays and poems by a range of Dutch poets and playwrights, but after Brink took over, they began to perform complete works as well, a number written specifically for the Rederijkers movement in Holland and Belgium (notable examples being a large number of works by authors such as Arnold, E. Nieuwmeyer, J. Schuitemaker, A.A. van der Stempel Jr. and T. van der Stempel), and gradually also performing plays by local authors, among whom H.W. Teengs and Melt Brink himself.

Aurora never had its own premises, but performed in a variety of halls and theatres in and around Cape Town, including the Liedertafel Germania (or Germania Hall), cnr Hout and Loop streets, the Oddfellows Hall in Plein Street, and "de zaal van den Heer Hutchinson" (Hutchinson's Hall) in Nieuw Street, also known as the Athenaeum Hall. As a result productions were simply and portably done, and the authors had to bear this in mind.

Between 1866 and 1887 they did a sum total of 103 "meetings", plus another 15 which offered repeats of the programmes from previous meetings.

Some performances

(Only plays performed for the first time by Aurora II in the particular year are given - further productions or repeats of the specific play will be listed in the entry on the play. For a full list of all performances, see F.C.L. Bosman, 1980: pp. 462-474.)

In 1866-67: Besides recitals of poems, they performed segments form a few plays in the hall of the Liedertafel Germania, Cape Town, including Montigny (Klijn), Tzaar Peter, Keizer van Rusland, Lodewijk XI (Delavigne/Schimmel), Hambroek (Nomsz), Gustaaf Wasa (Von Kotzebue/Van Heyst). A few shorter plays were also performed in there entirety, among them Tante Trui, Een Liefdesgeschiedenis (Arnold), Jan Sukkel (Arnold), Niet of Graag (Andersen), Een Hedendaagsch Duel (Guiseppe).

In 1868 the productions take on a more traditional character, full plays being performed alongside the popular recitals. Besides repeats from the previous period, new plays done this year included Het Vierde Huwelijk van Jacoba van Beijeren (Teengs), Uitgefloten (Arnold), De Arme Rykaard (Nieuwmeyer), Ferdinand de Speler (Nieuwmeyer), Bergen en Dalen (Benedix and Schuitemaker), Willem Nel (Teengs), De Oudste Zoon (Van de Velde), Bertram de Cipier (Arnold), De Twee Huisknechts, of De Bedrieger Bedrogen (Arnold), Manke Koos (Arnold) and Opstand 1815 (Teengs).

In 1869: The new plays done in this year included De Moord van Dingaan aan Pieter Retief (Teengs), No. 99 (Arnold), Het Origineele Testament (Brink), Het Laatste Levensuur van een Oranjeklant (Arnold), De Plaatsvervanger (Arnold), De Liefhebbery Comedie in de War (A.A. van der Stempel), Frank, de Gierigaard (Arnold), De Vriend Tegen Wil en Dank (A.A. an der Stempel), Het Spook, of de Bekering van Dr Peperhoofd (Brink), Een Droom (Arnold), Goede Harten (Schuitemaker), Verkeerd Bezorgd (T. van der Stempel).

In 1870: This year saw a number of works by T. van der Stempel among the new works done by the company, which included Rocco (Arnold), Liberaal en Conservatief, of De Verkiezingsrage (A.A. van der Stempel Jr), De Opkomst van het Huis Rothschild (T. van der Stempel), Liefde, Vriendschap en List (T. van der Stempel), Gustaaf Heller, of Het Offer der Verleiding (T. van der Stempel), Een Ongelukkig Minnaar, of De Mislukte Liefdesverklaring (T. van der Stempel), Retief Gewroken (Teengs), Het Spook (Brink), Het Testament (Van de Velde), Twee Emmers Water (), Miskend (Meys), Hans de Kruyer in 't Verhoor (Schoonhoven and Van Nooten), Een Offer der Vrijheid (Schuitemaker), Naar de Diamant Velden (Brink) and De Nieuwe Landheer, of De Gewaande Marquis (Engelman).

In 1871: The new work performed in this year included In den Kerker van Simancas (Van der Bergh), Een Uurtje op 't Kantoor (Egmond), Misdaad en Wroeging (Meys), De Weddenschap (Brink), Een Uurtje in een Schilders-Ateljelier (Houtcamp), De Tovenaar, of De Geest in de Kast (Brink), De Bloedgetuigen (N.N.), Een Stoute Daad (Jaco), Het Hotel Wittebrood (Van Buren), De Boodschapper op Loevestein (Kroon), Knoopen in den Zakdoek (Anon), Twee Oude Gekken in de Klem (Van der Stempel), Een Reis met Hindernissen, of De Speler Bekeerd (Brink), De Wees uit het Gebergte (Nieuwmeyer), Zonder Geld op Reis (A.A. van der Stempel Jr).

In 1872: Another full year with the following new works performed: De Dochter van Dominique (Van der Hoop), Willem van Oranje, of Vijftien Jaren uit de Geschiedenis (Durand/G. de J.), Dood of Niet Dood (), De Drie Verliefde Schoolmeesters (Brink), Getrouwheid (De Jager), Schout Papegaai (), De Vadervloek, of Misdaad en Wroeging (J. van der Stempel), Wie is de Prins? (A.A. van der Stempel Jr), Een Oom uit Californië (Hoek), De Ster van de Noorden (Belinfante), Een Muzikale Gek (Koster), Een Lotery (Brink), Een Bloedgetuie (Schuitemaker) and De Kater, of De Verdronken Minnaar (Van Hogezand).

In 1873: This year had slightly fewer productions, new titles being Onteerd (Anon), Een Jaloersche Dwaas (A.A. van der Stempel Jr), De Diamanten der Kroon (Belinfante), Die Val van die Hertog van Alba (Schuitemaker), De Onaangename Huishoudster (Brink), De Bloedzuigers, of De Minnehandel in de Apotheek (Ruysch), Het Kind van den Huize (Farber), Haat en Liefde (Bonin/Moolenijzer), Trouw Beloond, of De Zegepraal de Onschuld (Brink), Hij moet Duelleren (A.A. van der Stempel Jr).

In 1874: The productions fewer than before, only six evenings recorded, but most plays performed were new works, including Vader en Zoon (Ankersmit), Een Oude Rat in de Val (Schuitemaker), Twee Dooven (Brink), De Misdadigers, of Loon naar Werken (Brink), Zonder Geld op Reis, of Een Avontuurtje van Twee Schoolmeesters (A.A. van der Stempel Jr), Huzaar en Pandoer (Schücking/Faddegon), Het Losse Schot (Holtrop), Arthur de Beaumont, of De Franctireur van Neufville (A.A. van der Stempel), Een Misverstand (Faddegon), Een Oud Soldaat (Nieuwmeyer) and Het Hotel Wittebrood (Van Buren).

In 1875: In this year the performances move to the Athenaeum Hall in Cape Town, with the following new plays. De Vadersvloek, of Misdaad en Wroeging (T. van der Stempel), Een Avontuurtje van Mijnheer Kikkerlib (T. van der Stempel), De Tijdgeest (Brink) , Het Testament voor eene Slavin (Faddegon), Een Vergeetachtig Man (N.N.), De Twee Broeders (Brunings), De Uniformrok van Veldmaarschalk Wellington (Von Kotzebue), Geschiedkundig Dramatisch Episode uit Leven van Johan de Witt, Raadpensionaris van Holland, "1672" (Loosjes), Broederhaat, of Het Einde van Een Booswicht (Heroldt), De Regtvaardige Vergelding (Kind) and De Hoogste Wensch (De Regt).

In 1876: In this year the only used the Oddfellows Hall, the few new plays including Een Huis te Koop (Duval/Leonard), Het Ijzeren Masker (Schokke), Engeland in het Jaar 1651, of Deugd en Misdaad (Ziegler/Roobol) and De Zaakwaarnemer (F. van der Stempel).

In 1877: In this year the only used the Athenaeum Hall and tended to do only one long play per evening. The few new plays included Lazaro de Verhoeder, of Misdaad en Wraak (Bouchardy/Tiggelaar), De Offers der Vrijheid, of De Slagers van Ghent (Brink), De Verstrooiden (Van Kotzebue/Van Holtrop), Het Veemgericht, of Misdaad en Grootmoedigheid (Ziegler) and Gustavus, of De Zweedsche Mijnwerkers (Martelière).

In 1878: Only three theatre evenings are recorded for this year, but a number of new plays were performed, including Arthur, of Zestien Jaren Later (Burlage), Een Huwelijksadvertentie, of De Geplaagde Schoolmeester (Broekhoff), De Verloren Zoon, of De Twee Broeders (Brunings), Hy Moet Er Uit en Hy Zal Er Uit (Meys), De Baron van Felsheim, of De Slag bij Friedberg (Bernos) and Een Kapitale Erfenis, of De Corsikaansche Bloedwraak (Anon.).

In 1879: Things picked up a little, though the new practice of doing only one long play per evening seemed to occur more . The few new plays among them include De Wees van Brussel (Ruysch), De Geduchte Rechtbank (Martélière), De Gebochelde, of De Moord in de Slotgracht van Tayhis (Regland).

In 1880: Once more only three theatre evenings are recorded, but this was made up of six new plays. Onteerd (Henle), Een Lastige Overbuur (A.A. van der Stempel Jr), Een Oujaarsavond (Dikema), Het Bedrogen Drietal (Gillissen), De Struikroovers van Kalabrien, of De Onveilige Wildernis by (Tréogate/Engelman), Joost Uilenspiegel (Broekhoff).

In 1881: Another slow year, with four theatre evenings, comprising the following new plays. Getrouwheid, of De St. Bartholemeusnacht van het Jaar 1572 (De Jager), Flik en Flok (Metz), De Boodschapper, of Loevestein in 1570 (Kroon), Hans de Kruier (Anon.), De Eer eens Vaders (Broekhoff), De Neef uit Oost-Indië (Sinderam) and Stille Jan (Arnold).

In 1882: Very few performances this year, with no new plays - all being repetitions from previous years.

In 1883: Performances only resume late, the company playing five times in August of this year, with the following new plays. Pierre de Galeiboef, of De Onschuldige Veroordeelde (Culp), Speculeren, of Misdadig uit Kinderliefde (Broekhoff), De Onbekende Schoone (Broekhoff), Het Zakboek (Von Kotzebue) and Levend Verbrand (Leonard).

In 1884 and 1885: No performances

In 1886: After no performances in the intervening years, this became a relatively busy year with five evenings, introducing the following new plays. De Hugenoten (Meyerbeer, Scribe and Deschamps), Liefde voor het Vaderland (A.A. van der Stempel Jr), Het Brandmerk, of De Twee Galeiboeven (Boirie, Carmouche and Poujol), De Hoed van den Horlogemaker (De Girardin), De Montfordt's (Bergh), De Zwarte Kapitein (Leonard).

In 1887: The final meeting by Aurora II took place on 12 July in the Drill Hall, Cape Town and consisted of performances of Moederliefde en Heldenmoed, of De Gevangenis op het Slot 's Gravensteen te Antwerpen (Ruysch) and De Verstrooiden (Holtrop).

Aurora III, Cape Town (1909-1914)

It would appear that there was an initial attempt in 1901 to revive Aurora under the Cape Town branch of the Algemeen Nederlandsch Verbond (A.N.V. (1901-1903), a cultural association in Cape Town situated in Queen Victoria Street. The committee was chaired by Melt J. Brink]], with Gerrit van Heerde as secretary. However no trace of performances could be found.

A new Aurora was finally established in 1908 with the revival of the A.N.V., and it became the theatre-division of the Algemeen Nederlandsch Verbond. This was probably done in association with members of the former Rederijkerskamer (oratory-club) (Aurora II). It was again led by Melt Brink as chair, with P. Koster as vice-chair, Gerrit van Heerde as secretary, and ordinary members Olga van Oordt and Cath. Doyer.

Besides the executive members, the permanent amateur performers for the company also included Mr Wartema, Mrs Wartema, J.E. de Villiers, E.H. Lucouw, A.E.F. Lucouw, W. Kuperus, C.G.G. Cuchet, A. Kromberg, D. de Groot, Mrs Van Venlo, Mr Daleboudt, R. van Gelderen, J.W. van Lint, J.A.G. Bremer, J.P. Feenstra and J.H. Moll.

The new company lasted till 1914, though there are only records of performances for the years 1909-1912. The year 1913 saw no performances recorded in the annual report and, though there were plans to renew performance activity in 1914. However, circumstances caused the company to suddenly announce a halt in productions shortly after their meeting of 14 March, 1914. Nothing is heard of Aurora or the theatre division after that, though the ANV continued to exist well into the 1980s.

Performances

(Performances usually took place in the ANV Saal, and were done on nights when ANV meetings took place. Only plays performed for the first time by Aurora III in the particular year are given - further productions or repeats of the specific play will be listed in the entry on the play. For a full list of all performances, see F.C.L. Bosman, 1980: pp. 476-478.)

In 1909: The first year opened on 3 August with Di Koekdief (Nemo), De Oude en de Nieuwe Tijd (duologue, anon.) and Kluchtige Gerechtszitting (Anon.). The following evenings saw performances of De Gouvernante (Körner), 't Is Maar Een Kind (Anon), Het Geheim van Mevrouw (J.R.),

In 1910: Het Testament (Van de Velde), Zwarte Piet (E.S.), By die Tandedokter (Brink), De Twee Verstrooide Militairen (Kotzebue/Royaards), Hans de Portier (Kruyer) in 't Vehoor (Anon.), Een Rooie Tydens de Kroningsfeesten (M.C.), Graag of Niet (Andersen), Bekroond (Bosch), Een Gevaarlijke Sujet (Franzen), De Assurantie (Brink).

In 1911: De Hypnotiseur (Van der Lint), Daar is Meneer (Anon.), De Gedroomde Schoonzoon (Redingius), Kort van Memorie (A.A. van der Stempel Jr.), List van Vrouwen (Anon.).

In 1912: Een Kistje met Kruid (Anon.), Een Don Juan tegen Wil en Dank (Anon.), De Huishoudster van Twee Oude Heeren (F.W.B.) and Het Testament van de Wed. Poot (Souvestre/Stuart).

Sources

459 Rederijkerskamer "Streven Naar Volmaking" te Kommerzijl, 1857 - C. 1962 ( Groninger Archieven )[1]

Joris Baers (1888-1975): Algemeene Tooneelbibliotheek Een historische collectie theaterteksten in de Erfgoedbibliotheek Hendrik Conscience[2]

Ludwig Wilhelm Berthold Binge. 1969. Ontwikkeling van die Afrikaanse toneel (1832-1950). Pretoria: J.L. van Schaik: pp. 6-14

F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1912. Pretoria: J.L. van Schaik:pp.457-478.

Conradie, Elizabeth. 1934. Hollandse skrywers uit Suid-Afrika. Deel 1 (1652-1875) 'n Kultuur-historische studie. Pretoria, J.H. de Bussy and Cape Town H.A.U.M..[3]

Conradie, Elizabeth, 1949. Hollandse skrywers uit Suid-Afrika. Deel 2 (1875-1905) 'n Kultuur-historische studie. Pretoria, J.H. de Bussy and Cape Town H.A.U.M..[4]

P.J. du Toit. 1988. Amateurtoneel in Suid-Afrika. Pretoria: Academica

Jill Fletcher. 1994. The Story of Theatre in South Africa: A Guide to its History from 1780-1930. Cape Town: Vlaeberg: p.

Ingmar Koch. 1997. Het ochtendgloren boven Kaapstad. Nederlandse rederijkers in Kaapstad, Tydskrif vir Nederlands & Afrikaans. (4de Jaargang, Nommer 2. Desember)[5]



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