Difference between revisions of "ESAT Bibliography Ar-Az"
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Return to [[South_African_Theatre/Bibliography|A Bibliography of South African South African Theatre and Performance]] | Return to [[South_African_Theatre/Bibliography|A Bibliography of South African South African Theatre and Performance]] | ||
| + | Return to [[The ESAT Entries]] | ||
| + | |||
| + | ==The list== | ||
[[Michael Arendse|Arendse, Michael]]. 1999. Gordyn sak op die ou [[Nico Malan Theatre|Nico]]. ''Insig'', (134): 26. Maart. | [[Michael Arendse|Arendse, Michael]]. 1999. Gordyn sak op die ou [[Nico Malan Theatre|Nico]]. ''Insig'', (134): 26. Maart. | ||
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[[M. Armstrong|Armstrong, M.]] 1973. A few teaching experiments. ''Transvaal Educational News'', 70(8):12-14. | [[M. Armstrong|Armstrong, M.]] 1973. A few teaching experiments. ''Transvaal Educational News'', 70(8):12-14. | ||
| + | |||
| + | Art is life and life is art: an interview with [[John Kani]] and [[Winston Ntshona]] of the [[Serpent Players]], South Africa. 1976. ''Ufahamu: Journal of the African Activist Association'', 6(2):5-26. | ||
[[Michael D. Arthur|Arthur, Michael D.]] 1993. The waiting is over: South African theatre of transition. Unpublished master’s thesis. Austin: University of Texas. | [[Michael D. Arthur|Arthur, Michael D.]] 1993. The waiting is over: South African theatre of transition. Unpublished master’s thesis. Austin: University of Texas. | ||
| − | [[Michael D. Arthur|Arthur, Michael D.]] and [[Tom Arthur|Arthur, Tom]] 1994. The 1994 Grahamstown Festival. ''South African Theatre Journal'', 8(2):163-183. | + | [[Michael D. Arthur|Arthur, Michael D.]] and [[Tom Arthur|Arthur, Tom]] 1994. The 1994 [[Grahamstown Festival]]. ''[[South African Theatre Journal]]'', 8(2):163-183. |
| + | |||
| + | [[Michael D. Arthur|Arthur, Michael D.]] 1999a. Gay theatres in South Africa: [[Peter Hayes]], [[Pogiso Mogwera]], and [[Jay Pather]], in [[Marcia Blumberg|Blumberg, Marcia]] & [[Dennis Walder|Walder, Dennis]] (eds.). ''South African Theatre as/and Intervention''. Amsterdam: Rodopi. 147-153. | ||
[[Michael D. Arthur|Arthur, Michael D.]] 1999b. Think differently: South Africa theatre of/in transition and the Standard Bank [[National Arts Festival]] 1992-1996. Unpublished doctoral dissertation. Austin: University of Texas. | [[Michael D. Arthur|Arthur, Michael D.]] 1999b. Think differently: South Africa theatre of/in transition and the Standard Bank [[National Arts Festival]] 1992-1996. Unpublished doctoral dissertation. Austin: University of Texas. | ||
| − | [[Thomas H. Arthur|Arthur, Thomas H.]] & [[Michael D. Arthur|Arthur Michael D.]] 1993. The 1992 [[Grahamstown Festival]]. ''South African Theatre Journal'', 7(1):88-103. | + | [[Thomas H. Arthur|Arthur, Thomas H.]] & [[Michael D. Arthur|Arthur Michael D.]] 1993. The 1992 [[Grahamstown Festival]]. ''[[South African Theatre Journal]]'', 7(1):88-103. |
| − | [[Thomas H. Arthur|Arthur, Thomas H.]] 1990. ''My | + | [[Thomas H. Arthur|Arthur, Thomas H.]] 1990. ''[[My Children! My Africa!]]'' by [[Athol Fugard]]. Reviewed in ''Theatre Journal'', 42(2):246-247. |
| − | [[Thomas H. Arthur|Arthur, Thomas H.]] 1992 Looking for my relatives: The political implications of “family” in selected work by [[ | + | [[Thomas H. Arthur|Arthur, Thomas H.]] 1992 Looking for my relatives: The political implications of “family” in selected work by [[Athol Fugard]] and [[August Wilson]]. ''[[South African Theatre Journal]]'', 6(2):15-16. |
| − | [[Maxine, Arvan|Arvan, Maxine]] 1985. [[ | + | [[Maxine, Arvan|Arvan, Maxine]] 1985. The [[National Drama Library]], in [[Temple Hauptfleisch|Hauptfleisch, Temple]] (ed.). ''The Breytie Book: A Collection of Articles on South African Theatre Dedicated to [[P.P.B. Breytenbach]]''. Johannesburg: The Limelight press. 113-114. |
[[Leslee Asch|Asch, Leslee]] 2005. The giraffe that conquered Paris: a unique collaboration between puppet-companies in South Africa and Mali heads to the U.S. ''American Theatre'', 22(5):24-27. | [[Leslee Asch|Asch, Leslee]] 2005. The giraffe that conquered Paris: a unique collaboration between puppet-companies in South Africa and Mali heads to the U.S. ''American Theatre'', 22(5):24-27. | ||
| − | + | Asein, Samuel Omo 1980. The humanism of [[Ezekiel Mphahlele]]. ''Journal of Commonwealth Literature'', 15:38-49. | |
| − | [[Brian Astbury|Astbury, Brian]] | + | [[Brian Astbury|Astbury, Brian]] 1973. My vrou Yvonne ([[Yvonne Bryceland]]). ''Sarie Marais'', 24(28):54-59. July 18. |
| − | [[Brian Astbury|Astbury, Brian]] | + | [[Brian Astbury|Astbury, Brian]] 1979. ''The Space/Die Ruimte/Indawo''. Cape Town: Moira and Azriel Fine. |
| − | [[Brian Astbury|Astbury, Brian]] | + | [[Brian Astbury|Astbury, Brian]] 1980a. Irresistable force ([[Nomhle Nkonyeni]]). ''Fair Lady'', 15(19):46-51. March 26. |
| − | [[Brian Astbury|Astbury, Brian]] | + | [[Brian Astbury|Astbury, Brian]] 1980b. Rags to riches: ([[Rory West]] and [[Cindy West]]). ''Fair Lady'', 16(5):122-124. October 8. |
| + | |||
| + | [[Brian Astbury|Astbury, Brian]] 1985. [[Janet Suzman]]’s greatest role. ''Fair Lady'', 20(8):98-100. | ||
| + | |||
| + | [[Brian Astbury|Astbury, Brian]] 2011. ''Trusting the actor''. [http://www.wix.com/anairb/trusting-the-actor] | ||
| + | |||
| + | At the [[Jewish Guild]]. 1929. ''Footlights'', 1(4):17. | ||
[[V. Athiemulam|Athiemulam, V.]] 1984. Drama in language teaching. ''Journal of Language Teaching'', 18(3) :42-58. | [[V. Athiemulam|Athiemulam, V.]] 1984. Drama in language teaching. ''Journal of Language Teaching'', 18(3) :42-58. | ||
| − | [[Fugard, | + | [[Athol Fugard]] 1983. ''Contemporary Literary Criticism'', 25:173-178. |
| + | |||
| + | [[Athol Fugard]]: an interview. 1984. In [[Margaret J. Daymond|Daymond, Margaret J.]], [[Johan Jacobs|Jacobs, Johan]] & [[Margaret Lenta|Lenta, Margaret]] (eds.). 1984. ''Momentum: On Recent South African Writing''. Pietermaritzburg: University of Natal Press. 22-28. | ||
| + | |||
| + | [[Athol Fugard]] and the South African 'workshop' play, in Crow, Brian 1996. ''An Introduction to Post-Colonial Theatre''. Cambridge: Cambridge University Press. 96-111. | ||
| + | |||
| + | Attree, L. 2010. Women writing AIDS in South Africa and Zimbabwe, in Dodgson-Katiyo, Pauline and Wisker, Gina (editors) ''Rites of Passage in Postcolonial Women's Writing''. Amsterdam, Netherlands: Rodopi. 65-90. | ||
[[Derek Attridge|Attridge, Derek]] & [[Rosemary Jolly|Jolly, Rosemary]] (eds.). 1998. ''Writing South Africa: Literature, Apartheid and Democracy, 1970-1995''. Cambridge: Cambridge University Press. | [[Derek Attridge|Attridge, Derek]] & [[Rosemary Jolly|Jolly, Rosemary]] (eds.). 1998. ''Writing South Africa: Literature, Apartheid and Democracy, 1970-1995''. Cambridge: Cambridge University Press. | ||
| + | |||
| + | [[Eric Attwell|Attwell, Eric]] 1992. ''Port Elizabeth Opera House: The First 100 Years''. Cape Town: Cape Performing Arts Board. | ||
| + | |||
| + | [[Aubrey Sekhabi]]: drama 1998. 2009. In Watterson, Lore (ed.). ''Standard Bank Young Artist Awards, 25 years''. Randburg [South Africa] : DeskLink Media. 116-117. | ||
[[Hennie Aucamp|Aucamp, Hennie]] 1983. Dramatisering vir die klaskamer (inleiding tot ‘n stelwerkprojek). ''Klasgids'', 18(3):95-100. | [[Hennie Aucamp|Aucamp, Hennie]] 1983. Dramatisering vir die klaskamer (inleiding tot ‘n stelwerkprojek). ''Klasgids'', 18(3):95-100. | ||
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[[Hennie Aucamp|Aucamp, Hennie]] 1983. Meer vastigheid en vorm (gedagtes rondom dramatisering en stelwerkopdrag). ''Klasgids'', 18(2):116-125. | [[Hennie Aucamp|Aucamp, Hennie]] 1983. Meer vastigheid en vorm (gedagtes rondom dramatisering en stelwerkopdrag). ''Klasgids'', 18(2):116-125. | ||
| − | [[Hennie Aucamp|Aucamp, Hennie]] 1990. Wat is ‘n klassieke kabaretlied ? ''Tydskrif vir Letterkunde'', 29(1):17-25. | + | [[Hennie Aucamp|Aucamp, Hennie]] 1990. Wat is ‘n klassieke kabaretlied ? ''[[Tydskrif vir Letterkunde]]'', 29(1):17-25. |
| − | [[Hennie Aucamp|Aucamp, Hennie]] 1994a. ''Diary of an erotic life'' by [[ | + | [[Hennie Aucamp|Aucamp, Hennie]] 1994a. ''Diary of an erotic life'' by [[Frank Wedekind]], edited by [[Gerhard Hay]]. Reviewed in: ''[[South African Theatre Journal]]'', 8(2):191-198. |
[[Hennie Aucamp|Aucamp, Hennie]] 1994b. ''Dubbeldop: Kabarettekste en -opstelle''. Kaapstad: Human & Rousseau. | [[Hennie Aucamp|Aucamp, Hennie]] 1994b. ''Dubbeldop: Kabarettekste en -opstelle''. Kaapstad: Human & Rousseau. | ||
| − | [[Hennie Aucamp|Aucamp, Hennie]] 1994c. Die laaste wals, of kabaret as lewensgevoel. ''Tydskrif vir Letterkunde'', 32(1):8-20. | + | [[Hennie Aucamp|Aucamp, Hennie]] 1994c. Die laaste wals, of kabaret as lewensgevoel. ''[[Tydskrif vir Letterkunde]]'', 32(1):8-20. |
| − | [[Hennie Aucamp|Aucamp, Hennie]] 1994d. Die sewe doodsondes in kabaretverband. ''South African Theatre Journal'', 8(2):5-25. | + | [[Hennie Aucamp|Aucamp, Hennie]] 1994d. Die sewe doodsondes in kabaretverband. ''[[South African Theatre Journal]]'', 8(2):5-25. |
| − | [[Tyrone August|August, Tyrone]] | + | [[Tyrone August|August, Tyrone]] 1990. Interview with [[Gcina Mhlope|Gcina Mhlophe]]. ''Journal of Southern African Studies'', 16(2):329-335. |
| − | [[Allen Auld|Auld, Allen]] 2002. ''Macbeth'': a comparison, directed by [[ | + | [[Tyrone August|August, Tyrone]] 1994. Interview with [[Gcina Mhlope|Gcina Mhlophe]],in [[Liz Gunner|Gunner, Liz]] (ed.). ''Politics and Performance: Theatre, Poetry and Song in Southern Africa''. Johannesburg: Witwatersrand University Press. p. 273-284. |
| + | |||
| + | August, Tyrone. (1990) 'Interview with Gcdna Mhlophe', Journal of Southern African Studies,Vol. 16, No. 2, pp. 329-335 | ||
| + | |||
| + | [[Allen Auld|Auld, Allen]] 2002. ''Macbeth'': a comparison, directed by [[Garth Anderson]] for the [[Elizabeth Sneddon Theatre]], February 2002; directed by [[Patrick Collyer]] of [[Kwasuka Theatre Company]] for the [[Dan Pienaar Hall]], February/March 2002. ''Shakespeare in Southern Africa'', 14:52-55. | ||
Automatic control in the [[Nico Malan Theatre]]. 1971. ''Electronics and Instrumentation'', 2(5): 17. August | Automatic control in the [[Nico Malan Theatre]]. 1971. ''Electronics and Instrumentation'', 2(5): 17. August | ||
| + | Ayling, Ronald 2000. [[André P. Brink|André Brink]], in Scanlon, Paul A. (ed.). ''South African Writers''. Detroit: Gale Group. 42-72. | ||
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Return to [[South_African_Theatre/Bibliography|A Bibliography of South African South African Theatre and Performance]] | Return to [[South_African_Theatre/Bibliography|A Bibliography of South African South African Theatre and Performance]] | ||
| + | |||
| + | Return to [[The ESAT Entries]] | ||
Latest revision as of 18:44, 12 February 2024
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The list
Arendse, Michael. 1999. Gordyn sak op die ou Nico. Insig, (134): 26. Maart.
Armistead, Claire 1990. Market values. Plays and Players, (435):14-16.
Armstrong, Elizabeth 1961. Pretoria theatre for children. Lantern, 11:45-50.
Armstrong, M. 1973. A few teaching experiments. Transvaal Educational News, 70(8):12-14.
Art is life and life is art: an interview with John Kani and Winston Ntshona of the Serpent Players, South Africa. 1976. Ufahamu: Journal of the African Activist Association, 6(2):5-26.
Arthur, Michael D. 1993. The waiting is over: South African theatre of transition. Unpublished master’s thesis. Austin: University of Texas.
Arthur, Michael D. and Arthur, Tom 1994. The 1994 Grahamstown Festival. South African Theatre Journal, 8(2):163-183.
Arthur, Michael D. 1999a. Gay theatres in South Africa: Peter Hayes, Pogiso Mogwera, and Jay Pather, in Blumberg, Marcia & Walder, Dennis (eds.). South African Theatre as/and Intervention. Amsterdam: Rodopi. 147-153.
Arthur, Michael D. 1999b. Think differently: South Africa theatre of/in transition and the Standard Bank National Arts Festival 1992-1996. Unpublished doctoral dissertation. Austin: University of Texas.
Arthur, Thomas H. & Arthur Michael D. 1993. The 1992 Grahamstown Festival. South African Theatre Journal, 7(1):88-103.
Arthur, Thomas H. 1990. My Children! My Africa! by Athol Fugard. Reviewed in Theatre Journal, 42(2):246-247.
Arthur, Thomas H. 1992 Looking for my relatives: The political implications of “family” in selected work by Athol Fugard and August Wilson. South African Theatre Journal, 6(2):15-16.
Arvan, Maxine 1985. The National Drama Library, in Hauptfleisch, Temple (ed.). The Breytie Book: A Collection of Articles on South African Theatre Dedicated to P.P.B. Breytenbach. Johannesburg: The Limelight press. 113-114.
Asch, Leslee 2005. The giraffe that conquered Paris: a unique collaboration between puppet-companies in South Africa and Mali heads to the U.S. American Theatre, 22(5):24-27.
Asein, Samuel Omo 1980. The humanism of Ezekiel Mphahlele. Journal of Commonwealth Literature, 15:38-49.
Astbury, Brian 1973. My vrou Yvonne (Yvonne Bryceland). Sarie Marais, 24(28):54-59. July 18.
Astbury, Brian 1979. The Space/Die Ruimte/Indawo. Cape Town: Moira and Azriel Fine.
Astbury, Brian 1980a. Irresistable force (Nomhle Nkonyeni). Fair Lady, 15(19):46-51. March 26.
Astbury, Brian 1980b. Rags to riches: (Rory West and Cindy West). Fair Lady, 16(5):122-124. October 8.
Astbury, Brian 1985. Janet Suzman’s greatest role. Fair Lady, 20(8):98-100.
Astbury, Brian 2011. Trusting the actor. [1]
At the Jewish Guild. 1929. Footlights, 1(4):17.
Athiemulam, V. 1984. Drama in language teaching. Journal of Language Teaching, 18(3) :42-58.
Athol Fugard 1983. Contemporary Literary Criticism, 25:173-178.
Athol Fugard: an interview. 1984. In Daymond, Margaret J., Jacobs, Johan & Lenta, Margaret (eds.). 1984. Momentum: On Recent South African Writing. Pietermaritzburg: University of Natal Press. 22-28.
Athol Fugard and the South African 'workshop' play, in Crow, Brian 1996. An Introduction to Post-Colonial Theatre. Cambridge: Cambridge University Press. 96-111.
Attree, L. 2010. Women writing AIDS in South Africa and Zimbabwe, in Dodgson-Katiyo, Pauline and Wisker, Gina (editors) Rites of Passage in Postcolonial Women's Writing. Amsterdam, Netherlands: Rodopi. 65-90.
Attridge, Derek & Jolly, Rosemary (eds.). 1998. Writing South Africa: Literature, Apartheid and Democracy, 1970-1995. Cambridge: Cambridge University Press.
Attwell, Eric 1992. Port Elizabeth Opera House: The First 100 Years. Cape Town: Cape Performing Arts Board.
Aubrey Sekhabi: drama 1998. 2009. In Watterson, Lore (ed.). Standard Bank Young Artist Awards, 25 years. Randburg [South Africa] : DeskLink Media. 116-117.
Aucamp, Hennie 1983. Dramatisering vir die klaskamer (inleiding tot ‘n stelwerkprojek). Klasgids, 18(3):95-100.
Aucamp, Hennie 1983. Meer vastigheid en vorm (gedagtes rondom dramatisering en stelwerkopdrag). Klasgids, 18(2):116-125.
Aucamp, Hennie 1990. Wat is ‘n klassieke kabaretlied ? Tydskrif vir Letterkunde, 29(1):17-25.
Aucamp, Hennie 1994a. Diary of an erotic life by Frank Wedekind, edited by Gerhard Hay. Reviewed in: South African Theatre Journal, 8(2):191-198.
Aucamp, Hennie 1994b. Dubbeldop: Kabarettekste en -opstelle. Kaapstad: Human & Rousseau.
Aucamp, Hennie 1994c. Die laaste wals, of kabaret as lewensgevoel. Tydskrif vir Letterkunde, 32(1):8-20.
Aucamp, Hennie 1994d. Die sewe doodsondes in kabaretverband. South African Theatre Journal, 8(2):5-25.
August, Tyrone 1990. Interview with Gcina Mhlophe. Journal of Southern African Studies, 16(2):329-335.
August, Tyrone 1994. Interview with Gcina Mhlophe,in Gunner, Liz (ed.). Politics and Performance: Theatre, Poetry and Song in Southern Africa. Johannesburg: Witwatersrand University Press. p. 273-284.
August, Tyrone. (1990) 'Interview with Gcdna Mhlophe', Journal of Southern African Studies,Vol. 16, No. 2, pp. 329-335
Auld, Allen 2002. Macbeth: a comparison, directed by Garth Anderson for the Elizabeth Sneddon Theatre, February 2002; directed by Patrick Collyer of Kwasuka Theatre Company for the Dan Pienaar Hall, February/March 2002. Shakespeare in Southern Africa, 14:52-55.
Automatic control in the Nico Malan Theatre. 1971. Electronics and Instrumentation, 2(5): 17. August
Ayling, Ronald 2000. André Brink, in Scanlon, Paul A. (ed.). South African Writers. Detroit: Gale Group. 42-72.
Click on the appropriate letters of the alphabet in the sub-list below.
To return to any other letter, click on the list below
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
Return to A Bibliography of South African South African Theatre and Performance
Return to The ESAT Entries
