ESAT Bibliography O

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Click on the appropriate letter of the alphabet below to find the relevant list.

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Obituary. [Cheyele Rosenthal]. 1979. Jewish affairs, 34(10): 47. October.

O’Brien, Anthony 1994. Staging whiteness: Beckett, Havel, Maponya. Theatre journal, 46(1): 45-61. O’Brien, Anthony 1996. Staging whiteness: Beckett, Havel, Maponya. In Reinelt, Janelle (ed.) Crucibles of crisis: performing social change. Ann Arbor MI: University of Michigan Press. p. 143-164. O’Brien, Anthony 1997. Theatre and change in South Africa. edited by Geoffrey V. Davis and Anne Fuchs Reviewed in: Modern drama, 40(1): 174-175.

O’Connor, Lloyd Grant 2006. "Summoning the healing" : intercultural performance, immediacy, and historical and ritual dialectics in Brett Bailey's The plays of miracle & wonder (2003). Durban: University if KwaZulu-Natal

Odendaal OPPERMAN, DEON.  Môre is ‘n Lang Dag (L B) South African Theatre Journal, Vol.     2(1):88-89

Odendaal, L.B. 1972. Dramakroniek [André Brink, P.G. du Plessis en Bartho Smit]. Tydskrif vir geesteswetenskappe, 12: 82-96. June. Odendaal, L.B. 1973. Dramakroniek. Tydskrif vir geesteswetenskappe, 13: 224-236. September

Odendaal, L.B. 1977. Chris Barnard: Man met vakansie. [Literary criticism]. Tydskrif vir geesteswetenskappe, 17: 356-358. December. Odendaal, L.B. 1978. Vyfling. Scenaria, June/July: 59-63. Odendaal, L.B. 1980a. Intrige en konflik in Oorlog is oorlog. Tydskrif vir letterkunde, 18(4): 103-106.

Odendaal, L.B. 1980b. Karakterteenstellinge in Ruwe erts. Tydskrif vir letterkunde, 18(4): 106-109.

Odendaal, L.B. 1980c. Plaasvervangers. [Literary criticism, Pieter Fourie]. Tydskrif vir geesteswetenskappe, 20: 174-176.

Odendaal L.B. 1980d. Stukkie geskiedkundige geselsery: Die arrestasie. Tydskrif vir letterkunde, 18(4): 109-110.

Odendaal, L.B. 1981. Met permissie gesê – ‘n kabaret. Tydskrif vir geesteswetenskappe, 21 : 227-229. Odendaal, Louwrens Badenhorst 1986. Dramakroniek. Tydskrif vir geesteswetenskappe, 26(3) : 220-229.

Odendaal, L.B. 1987. Dramakroniek. Tydskrif vir geesteswetenskappe, 27(3): 254-263. Odendaal, L.B. 1988. Môre is ’n lang dag, deur Deon Opperman. Reviewed in: South African theatre journal, 2(1):88-89. Odendaal, L.B. 1988. Spraak en drama: ‘n erkende skoolvak. Education and Culture, 11(1): 20. Odendaal, L.B. 1989. Dramakroniek. Tydskrif vir geesteswetenskappe, 29(4): 328-338. ODENDAAL, LOUW & SCHUTTE, JOHAN. 1995. ATKV 1995: ‘n Reënboog met spatsels goud. South African theatre journal, 9(1):100-112. ODENDAAL, LOUW.1992. ATKV Kampustoneel ’92. South African theatre journal, 6(1): 72-81. Odendaal, Louw & Schutte, Johan 1994. Kampustoneel ’94: tekens van dekadentisme. South African theatre journal, 8(1): 68-80. Odendaal, Louw & Schutte, Johan. 1995. ATKV Toneel ’95: ‘n reënboog met spatsels goud. South African theatre journal, 9(1): 100-110. ODENDAAL, THYS. 1997. Teaterman Tucker vier 50j. in bedryf. Beeld. 16 Julie: Kalender. Odendaal, Thys. 1997. Geen koers met die kunste. Insig, 08/97: 14.

 of Western Cape P; (1996). vi, 309 + viii, 239, 17 pp. (book article)

Odendal, Lize 1986. Ian Roberts : die nuwe macho man ? De kat, 2(1) : 62-64.

OFFICIAL PROGRAM OF THE VAN RIEBEECK FESTIVAL. 1952. Cape Town. Ogude, N.A. & Rollnick, M. 1999. Addressing primary school science problems through materials developed by science educators and drama in education specialists. South African Journal of Education, 19(4): 251-256. O’Hara, Glynis. 1998. iMumbo Jumbo. In: Vuka SA, January 31, 1998: 4. Ohlhoff, H. 1978. En daar was lig – gedagtes oor Laat die kerse brand. Klasgids, 13(3-4): 5-9. November. Ohloff, C.H.F. 1983. Dias (N.P. van Wyk Louw). Tydskrif vir letterkunde, 21(3): 138-145 Ojo-Ade, Femi 1996. Contemporary South African theatre and the complexities of commitment . African literature today, 20: 120-134. OKAGBUE, OSITA. 1997. When the dead return: Play and seriousness in African masked performance. South African theatre journal, 11(1&2):89-107. Olaiya, kolawole 2008. Deconstructing Apartheid's global gaze: death and resistance in Fugard et al.'s Sizwe Bansi Is dead. Global South, 2 (2): 75-91. Olaniyan, T. (1995) Scars of conquest, masks of resistance: the invention of cultural identities in African, African-American and Carribean drama. New York: Oxford University Press. Olaniyan, T. and Quayson, A. (2007) African literature: an anthology of criticism and theory. Malden, MA: Blackwell Publishings

 Olaniyan, Tejumola (ed.) African Drama and Performance. Bloomington, IN: 

OLANIYAN, TEJUMOLA. Scars of Conquest/Masks of Resistance: The invention of cultural identities in African, African-American and Caribbean Drama (Yvette Hutchison) South African theatre journal, 10(1):126-129. Olaniyan__________ (2007) ‘Festivals, Ritual and Drama in Africa’. In Olaniyan and Quayson (eds.) African Literature: an anthology of criticism and theory. Malden, MA: Blackwell Publishing.

Old and new combine in modern theatre complex: bentonite plays major role in walling of the Durban Playhouse. 1983. Civil engineer and contractor, 17(5): 34-41.

Oliphant, A.W.1988. John Kani:combatant from the stage. Staffrider, 7(1): 54-61. Oliphant, Andries W. 1989. Victor Shingwenyana: theatre and the struggle for unity. Staffrider, 8(3/4): 149-152. Oliphant, Andries 1992. Isolate the enemy: community and conflict in popular theatre. South African theatre journal, 6(2): 18-29. Olivier, Bert 1989. Simbolisme as werklikheidsbenadering: watter werklikheid? Tydskrif vir literatuurwetenskap, 5(3/4): 237-252. Olivier, Fanie 1996. ‘n Fees sonder vonk. Insig, 08/96: 40. Olivier, G. 1978. Vyf tekste vir beeldradio. [Literary criticism]. Standpunte, 31(2): 25-31. April. Omotoso, Kole 1996. Whose culture is the culture of the global village? South African theatre journal, 10(1): 85-87. On tour [Afrikaans company]. 1941. Forum. 4(13): 19. O’Neill, C. 1985. Imagined worlds in theatre and drama. Pedagogiekjoernaal, 6(2) : 101-118. Ons huldig Anna Neethling-Pohl. 1957. Taalgenoot, 26(2): 24-26. Ons word weer oorval deur digters. [Chris Barnard]. 1976. Huisgenoot, 22-23. March O’Sheel, Patrick. 1978. Athol Fugard’s “Poor theatre”. Journal of Commonwealth Literature, 12: 67-77. On ghosts and miracles. 2003. American theatre, 20(8): 114. Ontwikkeling en problem van die amateurtoneel. (Gedeelte uit die jongste jaarverslag van die Federasie van amateur-toneelverenigings van Suid-Afrika). 1951. Helikon, 1(1): 19-24. October. Oppenheim, Helen A. 1947. South African national theatre. Bluestocking. 16(2): 24-27. Opperman, Deon 1989. Brugbouers van die gode. Insig, Junie 48-50. Opperman, M. 2007. Tragedie van ‘n grapjas: in die nuus [Bill Flynn]. Die huisgenoot. Huisgenoot, Vol 100, Issue 528, Julie 26 Pages: 10-13 Op’t Hof, J.J.P. 1951. Inspirerende gedagtes vir toneelskrywers en –liefhebbers: openingsrede van F.A.T.S.A. jaarkongres. Lantern, 1: 290-291. Op’t Hof, J.J.P. 1966. Official opening of the Little Theatre, Rhodes University, Grahamstown, on 19th August, 1966. Public servant, 46(10): 12-14. O’Quinn, Jim 1988. Stages of history. American theatre, 5(6): 19-23, 53. Orkin, Martin 1985. Drama in South Africa: Ghandi in South Africa: the play. English Academy review, 2: 61-67. Orkin, Martin 1986. Civility and the English colonial enterprise: notes on Shakespeare’s Othello. Theaoria, 68: 1-14. December. Orkin, Martin 1987a. Cruelty, King Lear, and the South African Land Act, 1913. Shakespeare survey, 40: 135-143.

Orkin, Martin 1987b. The European challenge. Scenaria, 78: 47-48. July. Orkin, Martin 1987c. Othello and the ‘plain face’ of racism. Shakespeare quarterly, 38(2): 166-188. Orkin, Martin 1987d. Shakespeare against Apartheid. Craighall: Donker. Orkin, Martin 1988a. Body and state in Blood knot / The Blood knot. South African theatre journal, 2(1): 17-34. Orkin, Martin 1988b. Cruelty, King Lear, and the South African Land Act. In: Wells, Stanley (ed.) Current approaches to Shakespeare through language, text and theatre. (Shakespeare survey : an annual survey of Shakespearian study and production ; 40). Cambridge, Cambridge University Press. Orkin, Martin 1990. “This bit of the world is ours”: Butler’s national theatre of the fifties. South African theatre journal, 4(2): 87-98. Orkin, Martin 1991a. Drama and the South African state. Johannesburg: Witwatersrand University Press. Orkin, Martin 1991b. Shakespeare and the politics of “unrest”. English Academy review, 8: 85-97. Orkin, Martin 1992. Whose popular theatre and performance? South African theatre journal, 6(2): 30-42. Orkin, Martin 1993a. The politics of editing the Shakespearean text in South Africa. Current writing, 5(1): 48-59. Orkin, Martin 1993b. Re-presenting The Tempest in South Africa (1955-1990). Shakespeare in Southern Africa, 6: 45-60. Orkin, Martin 1995. Introduction to At The Junction: Four Plays by the Junction Avenue Theatre Company. Johannesburg: Witwatersrand University Press. Orkin, Martin 1996. Possessing the book and peopling the text. Essays in theatre, 15(1): 45-57. Orkin, Martin 1996b. Whose popular theatre and performance? In Davis, Geoffrey V. & Fuchs, Anne (eds.) Theatre and change in South Africa. Amsterdam: Harwood Academic Publishing. p. 49-64. Orkin, Martin 1997. Whose things of darkness? Reading/representing The tempest in South Africa. In Joughin, John J. (ed.) Shakespeare and national culture. Manchester: Manchester University Press. p. 142-169.

Orkin, Martin 2005. Local Shakespeares: Proximations and Power. London and New York: Routledge. Osborne, Jane 1990. The Gumboot dance: an historical, socio-economic and cultural perspective. South African theatre journal,, 4(2): 50-79. Oude Libertas centre. 1977. Architect and builder, 27(12): 18-25. Oude Libertas-sentrum: ‘n monument vir wyn. 1977. Wynboer, 552: 18-25. An outsider’s impression on African drama. 1940. South African outlook. 70:126.

Click on the appropriate letter of the alphabet below to find the relevant list.

A B C D E F G H-Hay He-Hu 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