ESAT Bibliography B-Ban
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Baanbrekers. 1963. Vita musica, 1(2): 18-19.
Bacqua, S. 1997. Investigation of the play Sarafina II: Public Protector’s report. Pretoria: Office of the Public Protector.
Badenhorst, Frik 1978. Die mense van Soetwater. Scenaria, December/January: 39-40.
Bagasie sonder bestemming. [Literary criticism, Jac J. Brits]. 1974. Tydskrif vir geesteswetenskappe, 14: 218-221. September.
Bailes, A. 1984. Puppetry : an art form. Scenaria, (42) : 8-9.
Bailey, Brett 1998. Performing so the spirit may speak. South African theatre journal, 12(1&2): 191-202.
Bain, Keith 1996. The 1996 Standard Bank National Arts Festival, Grahamstown South African theatre journal, 10(2): 135-147.
Bain, Keith 1997. Berkoff, boerewors and box-office betrayal: Standard Bank National Arts Festival 1997. South African theatre journal, 11(1&2): 239-257.
Bain, Keith & Hauptfleisch, Gaerin 1998. Brecht 2001: a photo essay. South African theatre journal, 12(1&2): 212-227.
Bain, Keith 1998. Make believe: Standard Bank National Arts Festival 1998. South African theatre journal, 12(1&2): 139-164.
Bain, Keith 1999. Magical millennium dress rehearsal: 25th anniversary of the Standard Bank National Arts Festival, Grahamstown, 1999. South African theatre journal, 13(1&2): 179-195.
Bain, Keith & Hauptfleisch, Temple 2001. Playing the changes: thoughts on the restructuring of the theatrical system and the arts industry in South Africa after apartheid. South African theatre journal, 15: 8-24.
Bain, Keith Norman Hyperartificial cinema and the art of cool D Phil, US 2002
Bain, Keith 2003. Hypertheatrical performance on the post-apartheid stage. In Wasserman, Herman & Jacobs Sean (eds). Shifting selves: post-apartheid essays on mass media, culture and identity. Cape Town: Kwela Books. p. 145-165.
Baker, A.C. 1988. Popular theatre and politics in South Africa 1976-1987. Northampton, Mass.: Smith College. (M.A. thesis).
Baker, Gavin Roy 1995. Towards a dynamic voice approach evolving from leading voice and movement theorists. Stellenbosch: University of Stellenbosch. (M.Dram. thesis).
Baker, Gavin Roy 2001. Negotiated dramaturgy – industrial theatre as communication in the organization. Empangeni: University of Zululand. (D Phil-thesis.) (D Phil dissertation)
Baker, S. 1969. O come all ye faithful [passion plays]. Fair lady, 5(5): 80-92. April 30.
Baleka, Justus 2009. The tempest, Janice Honeyman: theatre review. Shakespeare in Southern Africa, 21(1): 88-89.
Ball, John Agee 2003. The dramatic art of Athol Fugard: from South Africa to the world by Albert Wertheim. Reviewed in Theatre journal, 55(1): 188-190.
Ballantine, C. 1993. Marabi nights: early South African jazz and vaudeville. Johannesburg: Ravan Press.
Balme, Christopher 1996. The performance aesthetics of township theatre: frames and codes. In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 65-84.
Balseiro, Isabel 2003. Between Alexandra and Jurassic Park: interview with Professor Es’kia Mphahlele. South African theatre journal, 17: 212-232.
Balt, Christine 2009. "A dark revolt of being" : abjection, sacrifice and the real in performance art, with reference to the works of Peter van Heerden and Steven Cohen. Grahamstown: Rhodes University. (M.A. (Drama) thesis). (A half-thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Drama.)
Baneshik, Percy 2006. Taubie Kuschlik – woman of the theatre. Jewish affairs, 61(4): 62-66.
Banning, Yvonne 1989a. English language usage in South African theatre since 1976. Johannesburg: Witwatersrand University. (MA-thesis.).
Banning, Yvonne 1989b. Ghosts with ears: the WESSA in contemporary drama. English Academy review, 6: 19-27.
Banning, Yvonne 1989c. Sophiatown, by The Junction Avenue Theatre Company. Reviewed in: South African theatre journal, 3(1): 95-102.
Banning, Yvonne 1990 Language in the theatre: mediating realities in an audience. South African theatre journal, 4(1): 12-37.
Banning, Yvonne 1997. (Re)viewing Medea: cultural perceptions and gendered consciousness in reviewers’ responses to the New South African theatre. South African theatre journal, 11(1&2): 55-87.
Banning Yvonne 1998. Oral English in South African theater of the 1980s. Oral tradition, 13(2): 398-421.
Banning, Yvonne 1999. Speaking silences: images of cultural difference and gender in Fleishman and Reznek’s Medea. In Blumberg, Marcia & Walder, Dennis (eds). South African theatre as/and intervention. Amsterdam: Rodopi. p. 41-47.
Banning, Yvonne 2002. Footprints on the shore: documenting site-specific community performance. The Freedom Project, Robben Island, April 27th, 2001. South African theatre journal, 16: 137 – 156.
Banning, Yvonne 2003. Learning to act in L 2 English: an ethnographic comparison of two students in a South African university drama department. Research in drama education. 8(2): 183-201.
Banning, Yvonne 2006. Directors Forum: Baxter Theatre, Cape Town, Saturday 19 August 2006. South African theatre journal, 20: 252-254.
Banning, Yvonne, Calburn, Caroline & Richardson, Lucy 2006. Project Phakama: stories of South Africa, London and Lesotho: landscapes of the heart. In Etherton, Michael & Plastow, Jane (eds). African theatre. Youth. Oxford: James Curry. p. 151-165.
Banning, Yvonne 2007. Creating vocal style in a scripted theatre production: issues of visibility, autonomy and integration in vocal practice as research. South African theatre journal, 21: 180-202.
Click on the appropriate letters of the alphabet in the sub-list below.
B-Ban Bar-Bas Bat-Bet Beu-Blo Blu-Blu Bo-Bos Bot-Bre Bri-Bru Bry-By
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
