Difference between revisions of "Reza de Wet"

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'''Reza de Wet''' (1952-2012) was a South African actress, award-winning playwright, novelist and drama lecturer.  
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'''Reza de Wet''' (1952-2012) was a South African actress, director, playwright, novelist and drama lecturer.  
  
 
Occasionally credited as '''[[Reza Reardon]]''', particularly when directing.   
 
Occasionally credited as '''[[Reza Reardon]]''', particularly when directing.   
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= Biography =
 
= Biography =
  
Born in the rural town of Senekal in the Free State, the only child of Judge H.F. de Wet and Elizabeth Mary De Wet (née Marais). When her father was stationed in Bloemfontein, she attended school and matriculated at the Hoër Meisieskool Oranje[http://www.oranjemeisies.co.za/] ("Oranje Girl's High School"). Her mother, generally known as "Tawty", was involved in local amateur operetta and drama. Her classmates thought her a bit enigmatic, but she excelled in drama, performing in the school plays. The school now has an annual drama festival named after her.
 
  
Two other early female influences on her and her work were her maternal grandmother Frederica Rousseau, and her mother's Sotho housekeeper Betty Motsamai, while three significant theatrical influences from her youth and student days have clearly had a significant long term effect on the evolution of her particular style of playwriting and the themes she tackled: Her early exposure to the theatrical work of the [[Afrikaans]] writers and touring companies, her exposure to circus performances and during her student years, her introduction to Russian realism and the work of Anton Chekhov (1860–1904)[https://en.wikipedia.org/wiki/Anton_Chekhov] and Konstantin Stanislavski (1863–1938)[https://en.wikipedia.org/wiki/Konstantin_Stanislavski].
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== Early influences ==
  
De Wet studied English and Drama at the [[University of the Orange Free State]] (1971-1973), ''inter alia'' being trained in Konstantin Stanislaviski's acting techniques under [[Henk Hugo]]. She then went to the [[University of Cape Town]] to study for a B.A. Honours in acting, notably influenced by [[Robert Mohr]], who considered her a natural Chekhovian actress and cast her in four of his productions of the plays. She later completed a part-time MA in English literature (cum laude) at the [[University of South Africa]], under the supervision of [[Ian Ferguson]].
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Born Elizabeth Frederica de Wet in the rural town of Senekal in the eastern Free State, the only child of Judge H.F. de Wet and Elizabeth Mary De Wet (née Marais). In Senekal she apparently had a private tutor, but when her father was transferred to Bloemfontein, she attended completed her studies and matriculated at the [[Hoër Meisieskool Oranje]][http://www.oranjemeisies.co.za/] ("Oranje Girl's High School"), which had an active drama club at the time. Her mother, generally known as "Tawty", was involved in local amateur operetta and drama, while Reza herself also excelled as actress, performing in the school plays. The school today has an annual drama festival named after her.  
  
After a stint as an actress for [[PACT]] (including its [[Youth Company]] and [[The Arena Company]]) and the [[Market Theatre]], she and her husband [[Lindsay Reardon]] moved to Grahamstown, where he taught drama and she initially lectured in English department, later also joining the Drama department staff, eventually as Associate Professor.
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Two other early female influences on her and her work were her maternal grandmother Frederica Rousseau, and her mother's Sotho housekeeper Betty Motsamai, an influence clearly seen in her work. In addition, De Wet was a voracious and apparently eclectic reader, with a particular fondness for late nineteenth and early twentieth century work, such as Gothic and Victorian literature, Russian literature and [[Afrikaans]] writing from the first half of the 20th century.  
  
De Wet died of leukemia in January 2012 and is survived by her husband actor and director [[Lindsay Reardon]], daughter Nina Van Schoor, and her grandchildren, Max and Mairi.
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In terms of theatre in particular, three significant theatrical influences from her youth and student days have clearly also had a significant long term effect on the evolution of her particular style of playwriting and the themes she tackled: Her early exposure to the theatrical work of the [[Afrikaans]] writers and touring companies, her exposure to circus performances and during her student years, her introduction to Russian realism and the work of Anton Chekhov (1860–1904)[https://en.wikipedia.org/wiki/Anton_Chekhov] and Konstantin Stanislavski (1863–1938)[https://en.wikipedia.org/wiki/Konstantin_Stanislavski].
  
= Career =
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== Tertiary training ==
  
De Wet had a number of related interests, as reflected in the arc of her career, all driven by her strong creative urge and fecund imagination.
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De Wet attended the [[University of the Orange Free State]] (1971-1973), completing a B.A. degree in  a English and Drama, ''inter alia'' being trained in Konstantin Stanislaviski's acting techniques under [[Henk Hugo]]. She next went to study for a post graduate performers' diploma in acting at the [[University of Cape Town]]'s Drama Department, led by [[Robert Mohr]]. Mohr considered her a natural Chekhovian actress and cast her in four of his productions of the plays.  She thereafter completed a B.A. Honours in English literature  at the [[University of Cape Town]].
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She completed her formal studies with an MA in English Literature from the [[University of South Africa]] in 1978,  with a thesis on ''The Predicament of Contemporary Man as Exemplified in Six Modern Dramas'', supervised by [[Ian Ferguson]].
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==Working life==
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De Wet started her formal career as actress while still in Bloemfontein, and went on to work as actress and later director for [[PACT]] (including its [[PACT Youth Company]] and [[The Arena Company]]), and the [[Market Theatre]], a period when she met actor and director [[Lindsay Reardon]], who was to become her husband.
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When she and her husband moved to Grahamstown, she initially lectured in English department, later joining the Drama department staff, to teach, direct and contribute texts and acting.  In this period she often collaborated with the Drama Department as well as the [[First Physical Theatre Company]], not only writing the scripts for six of the latter company's productions (works [[Gary Gordon]] referred to as "[[danceplays]]"),  but also performing and touring with the company on occasion.
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It was in this time that she really emerged as a playwright, writing all her major plays while living in Grahamstown. In this period, after completing the collection ''[[Trits]]'', she turned briefly to prose, completing a novel called ''Stil Mathilda'' ("Quiet Mathilda"), published by [[Human en Rousseau]] in 1995. Thereafter she returned to prime focus on theatre.
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De Wet died of leukemia in January 2012 and is survived by her husband actor and director [[Lindsay Reardon]], daughter [[Nina van Schoor]], and her grandchildren, Max and Mairi.
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= Career in theatre=
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De Wet had a number of related interests, as reflected in the arc of her career, all driven by her strong creative urge and a most fecund and original imagination.
  
 
== As actress ==
 
== As actress ==
  
She worked as an actress for [[PACT]] (including its experimental [[The Arena Company]]), where she  met [[Lindsay Reardon]], whom she later married. She later also performed at the [[Market Theatre]],  
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Her first appearances on stage were as schoolgirl for the dramatic society of the school, among which J.M. Barrie's ''[[Quality Street]]'', while her roles as student at the University Drama Department in the Bloemfontein, included "Nina" in ''[[The Seagull]]'',
  
Having completed her studies, De Wet auditioned for [[Mannie Manim]] at [[PACT]], and became a member of the [[PACT]] [[Experimental Youth Group]] (also known as [[The Arena Company]]), led by [[Ken Leach]]. However she also from the start had major roles in main stream productions by the main company. In the experimental company the performers were encouraged to create their own work and to workshop plays. It was here she  met [[Lindsay Reardon]], whom she later married.
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She worked as an actress for [[PACT]], including its experimental [[Experimental Youth Group]] (also known as [[The Arena Company]]), led by [[Ken Leach]]. However she also from the start had major roles in main stream productions by the main company. In the experimental company the performers were encouraged to create their own work and to workshop plays. It was here she  met [[Lindsay Reardon]], whom she later married. Among the plays she appeared in were ''[[Die Hemelbed]]'' (), ''[[Fando and Lis]]'' (), and ''[[Subject to Fits]]'' (Montgomery). 
  
Reardon followed Manim to the [[Market Theatre]] when [[Barney Simon]] and Manim founded the new venue, and he there directed Reza in a production of ''[[Miss Julie]]''.
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Reardon followed [[Mannie Manim]] to the [[Market Theatre]] in 1976, and there he would direct Reza and [[Peter Piccolo]] in a production of ''[[Miss Julie]]'' in 1978.  
  
While in Grahamstown, she occasionally performed again, including roles in ''[[Diepe Grond]]'',  
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After the couple had moved to Grahamstown, she occasionally performed again, including roles in ''[[Diepe Grond]]'' (1985), ''[[In a Different Light]]'' (1989), ''[[The Unspeakable Story]]'' (1995). Her final appearance on stage came in 2011 when she was cast in ''[[Die See]]'', directed by her husband, [[Lindsay Reardon]]. She thrice appeared in plays on video and audio clips: in ''[[Drifte]]'' (1996), in ''[[Verleiding]]'' (2005) and, posthumously, in ''[[Drifting]]'' (2013).
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== As director ==
  
Her final appearance on stage came in 2011 when she was cast in ''[[Die See]]'', directed by her husband, [[Lindsay Reardon]].
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As director De Wet did a number of productions over the years, many of them for the [[Rhodes University Drama Department]] while a lecturer there. The plays done include Arthur Miller's ''[[The Crucible]]'', (1989) and August Strindberg's ''[[The Ghost Sonata]]''.  She also directed a few of her own plays, such as ''[[Concealment]]'' (2004) for the department.  Her final directing contribution at [[Rhodes University Drama Department|Rhodes]] being ''[[Heathcliff Goes Home]]'' (2007).  
  
== As director ==
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She also collaborated with, and directed some work for, the [[First Physical Theatre Company]] ([[FPTC]]) over the years. An interesting case was her own play ''[[On the Lake]]'' in 2001, which she directed for the Company, while the Company did its own [[physical theatre]] version of it under the title ''[[lake...beneath the surface]]''. The two versions ran back to back at [[National Arts Festival]] that year. 
  
As director De Wet did, among other plays, Arthur Miller's ''[[The Crucible]]'', (1989), August Strindberg's ''[[The Ghost Sonata]]'' ([[Rhodes University Drama Department]]); ''[[On the Lake]]'' ([[First Physical Theatre Company]], 2001), Her final directing job at [[Rhodes University Drama Department|Rhodes]] was her own play ''[[Heathcliff Goes Home]]'' (2007).
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The directorial texts for the Drama Department productions are housed in the [[National English Literary Museum]] ([[NELM]]) in the "Drama department archive", while anything directed with or for the [[First Physical Theatre Company]] is held there in the "[[FPTC]]" archival files.
  
 
== As playwright ==
 
== As playwright ==
  
Fascinated with theatre and performance from her pre-school days, she wrote some early work in English, notably her first play, ''[[Heathcliff and the Dancing Bear]]''. However, in 1985 she leapt to national prominence as a playwright when, urged by [[Francois Swart]] and [[Denys Webb]], when she wrote and submitted her first [[Afrikaans]] play, ''[[Diepe Grond]]'', to the [[ATKV Kampustoneel]]-festival in Pretoria, where it premiéred sensationally and was immediately taken up for professional performance. This led to a steady stream of highly rated plays, in a distinctive neo-Gothic style of her own (what some refer to as "[[Afrikaner]] Gothic").  
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Fascinated with theatre and performance from her pre-school days, she wrote some early work in English, notably her first play, ''[[Heathcliff and the Dancing Bear]]''. However, in 1985 she leapt to national prominence as a playwright when, urged by [[Francois Swart]] and [[Denys Webb]], she wrote and submitted her first [[Afrikaans]] play, ''[[Diepe Grond]]'', to the [[ATKV Kampustoneel]]-festival in Pretoria, where it premiéred sensationally and was immediately taken up for professional performance. This led to a steady stream of highly rated plays, in a distinctive neo-Gothic style of her own (what some refer to as "[[Afrikaner]] Gothic").  
  
She did some physical theatre texts with and in later years she worked closely with director/designer [[Marthinus Basson]] on a number of her plays.  
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Having been raised [[bilingual|bilingually]] and trained in both [[Afrikaans]] and English, De Wet went on to write at least 26 plays in both languages over the course of 30 years. Some of these have also been translated into other languages.  
  
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De Wet's writing was rather enigmatic in its time, a-political, complex and intensely human works in a time of  political turmoil and committed writing which favoured the politically explicit. Each play displays a strong sense of time and place, but is usually set in an earlier time and providing a reflection on the complex issues of being a woman in search of freedom and self-expression in a male-dominated society. In view of their complexity and relevance, it is not surprising that a large number of academic studies of her works have been undertaken over the past 25 years (see the [[ESAT Bibliography]] for example).
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In view of her background and interests, De Wet's work tends to evince a strong literary bias, the structural and stylistic influences on the plays coming from the range of her reading as well as her training in theatre, but the actual theatrical ''form'' used by De Wet is more often than not based on the specific type of theatrical realism[https://en.wikipedia.org/wiki/Realism_(theatre)] developed by the core models she acquired as a student of drama: Anton Chekhov and Antonin Stanislavski perhaps being the most dominant and exciting examples. Tellingly, this was also the chosen form of most of her [[Afrikaans]] models. However, to accommodate her wide ranging thematic interests (see below), as well as her exposure to and love of a number of alternative performance forms, such as the circus, the troubadour tradition, the Noh drama and various ritual forms, this basic form is often significantly altered and/or enhanced in performance to break out of the confines of the overt form and to provide for more fluidity of time and place.
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These formal aspects become even clearer when one considers the ''content'' of the plays, likewise inspired by her eclectic reading, which tended towards (grotesque) fantasy, Gothic and Victorian literature, the tales of the Brothers Grimm and ultimately magic realism. Her plays therefore have somewhat surreal, almost Gothic, feel at times, with the themes often expressed through a range of additional (non-realist) techniques, such as games, rituals, re-enactment of the past, and role-switching by the performers.  More pertinently, a number of the plays are influenced by, refer to and use characters and/or themes from the works and lives of various literary and theatrical figures. Among the more recognizable of these are Shakespeare, Emily Bronte, Henry James, Henrik Ibsen, Anton Chekhov, J.M. Synge, Eugène O'Neill and [[Athol Fugard]] from the world canon, while the [[Afrikaans]] writers include [[Uys Krige]], [[H.A. Fagan]], [[C. Louis Leipoldt]], [[Eugène Nielen Marais|Eugène Marais]], [[J.F.W. Grosskopf]], [[Alba Bouwer]], [[André Huguenet]] and [[Bartho Smit]], and others. Her exposure to the work of [[Gary Gordon]] and the [[First Physical Theatre Company]] clearly also had an influence on the style of some of her later work.
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Other forms of influence derive from De Wet's  close working relations with her publishers (e.g. [[Marietjie Coetzee]] and [[HAUM Literary]] in South Africa and [[Oberon Books]] in London), ; her international agent, [[Gordon Dickerson]]; and a number of talented directors, including [[Denys Webb]], [[Lucille Gillwald]], [[Lindsay Reardon]], [[Gary Gordon]], [[Steven Stead]], [[Juanita Finestone-Praeg]] and director/designer [[Marthinus Basson]]. Other directors associated with productions of her work include [[André Stolz]] and [[Gaerin Hauptfleisch]]
  
 
===The plays===
 
===The plays===
  
Having been raised [[bilingual|bilingually]] and trained in both [[Afrikaans]] and English, De Wet wrote more than 20 plays in both languages over the course of 30 years. Some of these were also translated into other languages.
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This list includes all the published and unpublished play texts found and identified to date. They are listed under the '''original title''' (with date of first production in brackets, with the titles of any translations). Only in the case where  an  English or [[Afrikaans]] version is a significant adaptation and can be considered a new textis it listed separately.
 
 
De Wet's writing was rather enigmatic in its time, a-political, complex and intensely human plays in a time of political turmoil and committed writing. Each play displays a strong sense of time and place, but is usually set in an earlier time and providing a reflection on the complex issues of being a woman in search of freedom and self-expression in a male-dominated society.
 
   
 
Well-read and having a fondness for early English and [[Afrikaans]] writing, her work tends to evince strong literary bias.  
 
  
The theatrical form used by De Wet is more often than not based on the social realist approach developed by her models - Anton Chekhov and Antonin Stanislavsky  perhaps being the most dominant, but also enhanced by a strong Gothic element, a fluidity in her use of time and place, often expressed through the employment of role-play and transformation by the performers.  Structural and stylistic influences come from the range of her reading and training in theatre, Gothic and Victorian literature, the circus, Noh drama and Grimm's fairy tales being significant factors for example, as [[Anja Huismans]] and [[Juanita Finestone]] (1995: 89), [[Danie Stander]] (2016) and [[Marisa Keuris]] (2018) show. More pertinently, a number of the plays (directly or indirectly) refer to (or even use) characters and/or themes from works by, or the lives of, various literary and theatrical figures. Among the more recognizable are Shakespeare, Emily Bronte, Anton Chekhov, J.M. Synge, Eugène O'Neill from the world canon, while the [[Afrikaans]] writers include [[Uys Krige]], [[H.A. Fagan]], [[C. Louis Leipoldt]], [[Eugène Nielen Marais|Eugène Marais]], [[J.F.W. Grosskopf]], [[Alba Bouwer]], [[André Huguenet]] and [[Bartho Smit]], and others.  
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A number of the texts were written for and/or utilized by the [[First Physical Theatre Company]], and are marked with an '''asterisk*'''. The list also includes two bilingual tributes for De Wet, compiled and performed by the Drama Departments of [[Stellenbosch University]] (1995) and  [[Rhodes University]] (2013) respectively (marked with a '''double asterisk**''').  
  
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According to [[Gordon Dickerson]], De Wet's international agent, her plays have been translated into quite a few other languages besides English, and the Greeks and Czechs have to date performed more of Reza’s plays than any other countries, apart from the United Kingdom, 
  
'''''For details of the individual works and their various productions, click on the appropriate link below'''''
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'''''For details of each individual work and the various productions and editions, click on the appropriate link below'''''
  
  
''[[Heathcliff and the Dancing Bear]]'' (early 1980s).
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''[[Heathcliff and the Dancing Bear]]'' (early 1980s).  '''See:''' ''[[Heathcliff Goes Home]]'' (2007).
  
''[[Diepe Grond]]'' (1985)   
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''[[Diepe Grond]]'' (1985 - English: ''[[Deep Ground]]'', ''[[Run to Ground]]'' and ''[[African Gothic]]'')   
  
''[[Op Dees Aarde]]'' (1986)  
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''[[Op Dees Aarde]]'' (1986 - English: ''[[Good Heavens]]'')  
  
''[[Nag, Generaal]]'' (1988).  
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''[[Nag, Generaal]]'' (1988). '''See:''' ''[[Breathing In]]'' (2004) and ''[[Asem]]'' ()
  
 
''[[In a Different Light]]'' (1989)
 
''[[In a Different Light]]'' (1989)
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''[[A Worm in the Bud]]'' (1990).  
 
''[[A Worm in the Bud]]'' (1990).  
  
''[[Mis]]'' (1993)
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''[[Mirakel]]'' (1992 - English: ''[[Miracle]]'')  
  
''[[Mirakel]]'' (1994)  
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''[[Mis]]'' (1993 - English: ''[[Missing]]'')
  
''[[Drif]]'' (1994)  
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''[[Dialogue]]''* (1994)
  
''[[Drie Susters Twee]]'' (1997)  
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''[[Drif]]'' (1994 - English: ''[[Drift]]'' and ''[[Crossing]]'')
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''[[Drifte]]'' (1995)**
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''[[The Unspeakable Story]]''* (1995)
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''[[Dead: A Slight History of One Called Ivan]]''* (1996)
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''[[Drie Susters Twee]]'' (1997 - English:  ''[[Three Sisters Two]]'')
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''[[Lilith]]''* (1998)
  
 
''[[Yelena]]'' (1998)
 
''[[Yelena]]'' (1998)
  
''[[On the Lake]]'' (2001)  
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''[[Bessie's Head]]''* (2000)
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''[[On the Lake]]''* (2001)
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''[[lake…beneath the surface]]''* (2001)
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''[[Notes for the Curious]]'' (2003)
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''[[Breathing In]]'' (2004 - [[Afrikaans]]: ''[[Asem]]'') '''See:''' ''[[Nag, Generaal]]'' (1988)
  
''[[Breathing In]]'' (2004)
 
 
 
''[[Concealment]]'' (2004)  
 
''[[Concealment]]'' (2004)  
  
''[[The Brothers]]'' / ''[[Broers]]'') (2006)
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''[[The Brothers]]'' (2006 - [[Afrikaans]]: ''[[Broers]]'')  
  
 
''[[Verleiding]]'' (2005)  
 
''[[Verleiding]]'' (2005)  
  
''[[Heathcliff Goes Home]]'' (2007).
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''[[Heathcliff Goes Home]]'' (2007). '''See:''' ''[[Heathcliff and the Dancing Bear]]'' (early 1980s).  
  
 
''[[Blou Uur]]'' (2008)
 
''[[Blou Uur]]'' (2008)
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''[[Die See]]'' (2011)
 
''[[Die See]]'' (2011)
  
=== Published collections ===
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''[[Drifting]]'' (2013)**
  
''[[Vrystaat Trilogie]]'' (“Free State Trilogy” – P: 1991)
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=== Published collections containing plays by De Wet===
  
''[[Trits: Mis, Mirakel en Drif]]'' (P: 1993),
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''[[Vrystaat Trilogie]]'' (“Free State Trilogy”, 1991)  
  
''[[Reza de Wet: Plays One]]'' An English version of the collection ''[[Trits: Mis, Mirakel en Drif]]'' translated by [[Steven Stead]] and published by Oberon Books, 2000. (Includes the plays [[Missing]], [[Crossing]] and [[Miracle]]).
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''[[Trits: Mis, Mirakel en Drif]]'' (1993)
  
''[[Reza de Wet: Plays Two]]'' Translated by [[Reza de Wet]].  Foreword by [[Marthinus Basson]]. Published by Oberon Press 2005. (Contains ''[[African Gothic]]'', ''[[Good Heavens]]'' and ''[[Breathing In]]''.)
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''[[Open Space: Six Contemporary Plays from Africa]]'' (1995)
  
[[De Wet: A Russian Trilogy]] ([[Reza de Wet]])
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''[[Drama for a New South Africa]]'' (1999)
  
[[De Wet: Plays One]] ([[Reza de Wet]])
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''[[De Wet: Plays One]]'' (2000)
  
[[De Wet: Plays Two]] ([[Reza de Wet]])
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''[[De Wet: A Russian Trilogy]]'' (2002)
  
[[De Wet: Two Plays]] ([[Reza de Wet]])
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''[[The Art of Physical Intelligence]]'' Volume 1: "Experiments in Physical Theatre".  (2002).
  
== As novelist ==
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''[[De Wet: Plays Two]]'' (2005)
  
After completing the collection ''[[Trits]]'', she turned to prose for a while, completing a novel called ''Stil Mathilda'' ("Quiet Mathilda"), published by [[Human en Rousseau]] in 1995.
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''[[De Wet: Two Plays]]'' (2007)
  
 
== As Lecturer ==
 
== As Lecturer ==
  
In 1982 de wet and her husband moved to Grahamstown, where they both worked in the drama department at [[Rhodes University Drama Department|Rhodes University]]. She taught in the drama department for more than 20 years, later being made a professor, and retired in 2007.
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In 1982 de wet and her husband moved to Grahamstown, where she initially worked in the English department, before joining the drama department at [[Rhodes University Drama Department|Rhodes University]]. She taught there for more than 20 years, later being made a professor, and retiring in 2007.
  
 
=Awards and tributes=
 
=Awards and tributes=
  
De Wet was the first playwright, and only the second author, to win the prestigious [[Hertzogprys|Hertzog Prize]] twice in a row for the same medium (1993, 1996).  
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In 1986 [[Reza de Wet]] was awarded for ''[[Diepe Grond]]'' as the dramatist of the year.
  
In April 2013 the [[Rhodes University]] Drama Department devised a a tribute show to the playwright, entitled ''[[Drifting]]'', which was performed at the [[Rhodes Theatre]] during Graduation on 4, 6 and 9 April 2013 at 7:00pm. Similar tributes were held at other Universities in South Africa.  
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De Wet was the first playwright, and only the second author, to win the prestigious [[Hertzogprys|Hertzog Prize]] twice in a row for the same medium (in 1994 for the two collectionjs ''[[Vrystaat-trilogie]]'' and ''[[Trits: Mis, Mirakel, Drif]]'', and 1996 for ''[[Drie susters twee]]'').
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In 2005, de Wet was awarded the [[Fleur du Cap]] for her play ''[[Breathing In]]''.
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In April 2013 the [[Rhodes University]] Drama Department devised a stage production entitled ''[[Drifting]]'', performed as tribute to the playwright at the [[Rhodes University Theatre]] during Graduation on 4, 6 and 9 April 2013 at 7:00pm. Similar tributes were held at other Universities in South Africa.  
  
 
The [[Hoër Meisieskool Oranje]] in Bloemfontein named their annual Drama festival after Reza de Wet.  
 
The [[Hoër Meisieskool Oranje]] in Bloemfontein named their annual Drama festival after Reza de Wet.  
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= Sources =
 
= Sources =
  
Tercia Barnard.  
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[[Tercia Barnard]]. 1997. ''Spel as ekspressie van die rituele in Reza de Wet se Trits''. Unpublished master’s thesis. Stellenbosch: [[University of Stellenbosch]]. 
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[[Temple Hauptfleisch]]. 1993. "Die dramaturg as towenaar: ʼn Inleiding tot Mis, Mirakel en Drif". In: Reza de Wet. 1993. ''Trits (Mis, Mirakel, Drif)''. [[HAUM-Literêr]].  
  
[[Temple Hauptfleisch]]. 1993. "Die dramaturg as towenaar: ʼn Inleiding tot Mis, Mirakel en Drif". In: Reza de Wet. 1993. ''Trits (Mis, Mirakel, Drif)''. [[HAUM-Literêr]].  
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[[Die Beeld]] 26 June 2001.
  
 
[[Greg Homann]]. 2015.  "Emerging Playwrights and Significant Plays". In: [[Martin Middeke]], [[Peter Paul Schnierer]] and [[Greg Homann]] (editors). ''[[The Methuen Drama Guide to Contemporary South African Theatre]]''. London: Bloomsbury Publishing.
 
[[Greg Homann]]. 2015.  "Emerging Playwrights and Significant Plays". In: [[Martin Middeke]], [[Peter Paul Schnierer]] and [[Greg Homann]] (editors). ''[[The Methuen Drama Guide to Contemporary South African Theatre]]''. London: Bloomsbury Publishing.
  
[[Anja Huismans]], and [[Juanita Finestone]]. 1995. "Interview: Anja Huismans and Juanita Finestone talk to Reza de Wet". ''South African Theatre Journal'', 9 (1): 89 – 95.
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[[Anja Huismans]], and [[Juanita Finestone]]. 1995. "Interview: Anja Huismans and Juanita Finestone talk to Reza de Wet". ''[[South African Theatre Journal]]'', 9 (1): 89 – 95.
  
[[Marisa Keuris]]. 2018. ''Die spore van ouer Afrikaanse dramaturge en skrywers in Reza de Wet se ''Drif''" (Draft manuscript)
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[[Yvette Hutchison]] and [[Kole Omotoso]]. 1995. ''[[Open Space: Six Contemporary Plays from Africa]]''. Cape Town: [[Kagiso Publishers]].
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[[Shirley Johnston]]. 2018. "''Drifte'' - Discovering the Secrets of Reza de Wet’s Heart". (Draft manuscript, courtesy of the author.)
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[[Gordon Dickerson]]. 2018. Personal correspondence with [[Temple Hauptfleisch]].
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[[Marisa Keuris]]. 2018. ''Die spore van ouer Afrikaanse dramaturge en skrywers in Reza de Wet se ''Drif''" (Draft manuscript, courtesy of the author)
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[[Dorothea van Zyl]]. 2014. "Reza de Wet (1953-2012)". In: Van Coller, H.P. (Ed.). ''Perspektief & Profiel. ’n Afrikaanse literatuurgeskiedenis''. Part 3. Pretoria: Van Schaik.
  
 
[[Anton Krueger]]. 2009. ''Experiments in Freedom: Explorations of Identity in New South African Drama''.  
 
[[Anton Krueger]]. 2009. ''Experiments in Freedom: Explorations of Identity in New South African Drama''.  
 
Cambridge Scholars Publishing.[https://books.google.co.za/books?id=PwsaBwAAQBAJ&pg=PA238&lpg=PA238&dq=a+worm+in+the+bud++fever+play+by+Reza+de+Wet&source=bl&ots=F4glKAyEVb&sig=v91Y1yvaM-b2TQw7BPy03DqKHBA&hl=en&sa=X&ved=0ahUKEwj7q7elmu_bAhURasAKHW9QAls4ChDoAQgoMAE#v=onepage&q=a%20worm%20in%20the%20bud%20%20fever%20play%20by%20Reza%20de%20Wet&f=false]
 
Cambridge Scholars Publishing.[https://books.google.co.za/books?id=PwsaBwAAQBAJ&pg=PA238&lpg=PA238&dq=a+worm+in+the+bud++fever+play+by+Reza+de+Wet&source=bl&ots=F4glKAyEVb&sig=v91Y1yvaM-b2TQw7BPy03DqKHBA&hl=en&sa=X&ved=0ahUKEwj7q7elmu_bAhURasAKHW9QAls4ChDoAQgoMAE#v=onepage&q=a%20worm%20in%20the%20bud%20%20fever%20play%20by%20Reza%20de%20Wet&f=false]
  
[[D.B. Stander]]. 2016. ''Reza de Wet’s Channeling of the Long Nineteenth Century on Post-1994 South African Stages''. Unpublished MA thesis, University of Stellenbosch.
+
[[Juanita Praeg]]. 2018. "Drifting: Reminiscing. Remembering. Reinventing. Reza" (Draft manuscript, courtesy of the author.)
 +
 
 +
[[Daniël Botha Stander]]. 2016. ''Reza de Wet’s Channeling of the Long Nineteenth Century on Post-1994 South African Stages''. Unpublished MA thesis, University of Stellenbosch.[http://scholar.sun.ac.za/handle/10019.1/98824]
  
 
[[Danie Stander]]. 2017. "Reza de Wet – Haar Lewe en Werke", In: Programme for ''[[KKNK]] Festival'', 2017[http://kknk.co.za/reza-de-wet-haar-lewe-en-werke/]
 
[[Danie Stander]]. 2017. "Reza de Wet – Haar Lewe en Werke", In: Programme for ''[[KKNK]] Festival'', 2017[http://kknk.co.za/reza-de-wet-haar-lewe-en-werke/]
  
 +
[[Hester Rossly van der Wal]]. 2005. ''Vrouefigure in Reza de Wet se Drama-oeuvre''. Unpublished master’s thesis. Pretoria: [[University of South Africa]].[http://uir.unisa.ac.za/bitstream/handle/10500/1991/dissertation.pdf] 
 +
 
http://www.argief.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news_item&news_id=64476&cause_id=1270
 
http://www.argief.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news_item&news_id=64476&cause_id=1270
  
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https://www.oberonbooks.com/reza-de-wet.html
  
 
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Go to [[ESAT Bibliography]]
 
 
 
 
Go to [[South African Theatre/Bibliography]]
 
  
 
= Return to =
 
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Latest revision as of 12:41, 13 October 2023

Reza de Wet (1952-2012) was a South African actress, director, playwright, novelist and drama lecturer.

Occasionally credited as Reza Reardon, particularly when directing.

Biography

Early influences

Born Elizabeth Frederica de Wet in the rural town of Senekal in the eastern Free State, the only child of Judge H.F. de Wet and Elizabeth Mary De Wet (née Marais). In Senekal she apparently had a private tutor, but when her father was transferred to Bloemfontein, she attended completed her studies and matriculated at the Hoër Meisieskool Oranje[1] ("Oranje Girl's High School"), which had an active drama club at the time. Her mother, generally known as "Tawty", was involved in local amateur operetta and drama, while Reza herself also excelled as actress, performing in the school plays. The school today has an annual drama festival named after her.

Two other early female influences on her and her work were her maternal grandmother Frederica Rousseau, and her mother's Sotho housekeeper Betty Motsamai, an influence clearly seen in her work. In addition, De Wet was a voracious and apparently eclectic reader, with a particular fondness for late nineteenth and early twentieth century work, such as Gothic and Victorian literature, Russian literature and Afrikaans writing from the first half of the 20th century.

In terms of theatre in particular, three significant theatrical influences from her youth and student days have clearly also had a significant long term effect on the evolution of her particular style of playwriting and the themes she tackled: Her early exposure to the theatrical work of the Afrikaans writers and touring companies, her exposure to circus performances and during her student years, her introduction to Russian realism and the work of Anton Chekhov (1860–1904)[2] and Konstantin Stanislavski (1863–1938)[3].

Tertiary training

De Wet attended the University of the Orange Free State (1971-1973), completing a B.A. degree in a English and Drama, inter alia being trained in Konstantin Stanislaviski's acting techniques under Henk Hugo. She next went to study for a post graduate performers' diploma in acting at the University of Cape Town's Drama Department, led by Robert Mohr. Mohr considered her a natural Chekhovian actress and cast her in four of his productions of the plays. She thereafter completed a B.A. Honours in English literature at the University of Cape Town.

She completed her formal studies with an MA in English Literature from the University of South Africa in 1978, with a thesis on The Predicament of Contemporary Man as Exemplified in Six Modern Dramas, supervised by Ian Ferguson.

Working life

De Wet started her formal career as actress while still in Bloemfontein, and went on to work as actress and later director for PACT (including its PACT Youth Company and The Arena Company), and the Market Theatre, a period when she met actor and director Lindsay Reardon, who was to become her husband.

When she and her husband moved to Grahamstown, she initially lectured in English department, later joining the Drama department staff, to teach, direct and contribute texts and acting. In this period she often collaborated with the Drama Department as well as the First Physical Theatre Company, not only writing the scripts for six of the latter company's productions (works Gary Gordon referred to as "danceplays"), but also performing and touring with the company on occasion.

It was in this time that she really emerged as a playwright, writing all her major plays while living in Grahamstown. In this period, after completing the collection Trits, she turned briefly to prose, completing a novel called Stil Mathilda ("Quiet Mathilda"), published by Human en Rousseau in 1995. Thereafter she returned to prime focus on theatre.

De Wet died of leukemia in January 2012 and is survived by her husband actor and director Lindsay Reardon, daughter Nina van Schoor, and her grandchildren, Max and Mairi.

Career in theatre

De Wet had a number of related interests, as reflected in the arc of her career, all driven by her strong creative urge and a most fecund and original imagination.

As actress

Her first appearances on stage were as schoolgirl for the dramatic society of the school, among which J.M. Barrie's Quality Street, while her roles as student at the University Drama Department in the Bloemfontein, included "Nina" in The Seagull,

She worked as an actress for PACT, including its experimental Experimental Youth Group (also known as The Arena Company), led by Ken Leach. However she also from the start had major roles in main stream productions by the main company. In the experimental company the performers were encouraged to create their own work and to workshop plays. It was here she met Lindsay Reardon, whom she later married. Among the plays she appeared in were Die Hemelbed (), Fando and Lis (), and Subject to Fits (Montgomery).

Reardon followed Mannie Manim to the Market Theatre in 1976, and there he would direct Reza and Peter Piccolo in a production of Miss Julie in 1978.

After the couple had moved to Grahamstown, she occasionally performed again, including roles in Diepe Grond (1985), In a Different Light (1989), The Unspeakable Story (1995). Her final appearance on stage came in 2011 when she was cast in Die See, directed by her husband, Lindsay Reardon. She thrice appeared in plays on video and audio clips: in Drifte (1996), in Verleiding (2005) and, posthumously, in Drifting (2013).

As director

As director De Wet did a number of productions over the years, many of them for the Rhodes University Drama Department while a lecturer there. The plays done include Arthur Miller's The Crucible, (1989) and August Strindberg's The Ghost Sonata. She also directed a few of her own plays, such as Concealment (2004) for the department. Her final directing contribution at Rhodes being Heathcliff Goes Home (2007).

She also collaborated with, and directed some work for, the First Physical Theatre Company (FPTC) over the years. An interesting case was her own play On the Lake in 2001, which she directed for the Company, while the Company did its own physical theatre version of it under the title lake...beneath the surface. The two versions ran back to back at National Arts Festival that year.

The directorial texts for the Drama Department productions are housed in the National English Literary Museum (NELM) in the "Drama department archive", while anything directed with or for the First Physical Theatre Company is held there in the "FPTC" archival files.

As playwright

Fascinated with theatre and performance from her pre-school days, she wrote some early work in English, notably her first play, Heathcliff and the Dancing Bear. However, in 1985 she leapt to national prominence as a playwright when, urged by Francois Swart and Denys Webb, she wrote and submitted her first Afrikaans play, Diepe Grond, to the ATKV Kampustoneel-festival in Pretoria, where it premiéred sensationally and was immediately taken up for professional performance. This led to a steady stream of highly rated plays, in a distinctive neo-Gothic style of her own (what some refer to as "Afrikaner Gothic").

Having been raised bilingually and trained in both Afrikaans and English, De Wet went on to write at least 26 plays in both languages over the course of 30 years. Some of these have also been translated into other languages.

De Wet's writing was rather enigmatic in its time, a-political, complex and intensely human works in a time of political turmoil and committed writing which favoured the politically explicit. Each play displays a strong sense of time and place, but is usually set in an earlier time and providing a reflection on the complex issues of being a woman in search of freedom and self-expression in a male-dominated society. In view of their complexity and relevance, it is not surprising that a large number of academic studies of her works have been undertaken over the past 25 years (see the ESAT Bibliography for example).

In view of her background and interests, De Wet's work tends to evince a strong literary bias, the structural and stylistic influences on the plays coming from the range of her reading as well as her training in theatre, but the actual theatrical form used by De Wet is more often than not based on the specific type of theatrical realism[4] developed by the core models she acquired as a student of drama: Anton Chekhov and Antonin Stanislavski perhaps being the most dominant and exciting examples. Tellingly, this was also the chosen form of most of her Afrikaans models. However, to accommodate her wide ranging thematic interests (see below), as well as her exposure to and love of a number of alternative performance forms, such as the circus, the troubadour tradition, the Noh drama and various ritual forms, this basic form is often significantly altered and/or enhanced in performance to break out of the confines of the overt form and to provide for more fluidity of time and place.

These formal aspects become even clearer when one considers the content of the plays, likewise inspired by her eclectic reading, which tended towards (grotesque) fantasy, Gothic and Victorian literature, the tales of the Brothers Grimm and ultimately magic realism. Her plays therefore have somewhat surreal, almost Gothic, feel at times, with the themes often expressed through a range of additional (non-realist) techniques, such as games, rituals, re-enactment of the past, and role-switching by the performers. More pertinently, a number of the plays are influenced by, refer to and use characters and/or themes from the works and lives of various literary and theatrical figures. Among the more recognizable of these are Shakespeare, Emily Bronte, Henry James, Henrik Ibsen, Anton Chekhov, J.M. Synge, Eugène O'Neill and Athol Fugard from the world canon, while the Afrikaans writers include Uys Krige, H.A. Fagan, C. Louis Leipoldt, Eugène Marais, J.F.W. Grosskopf, Alba Bouwer, André Huguenet and Bartho Smit, and others. Her exposure to the work of Gary Gordon and the First Physical Theatre Company clearly also had an influence on the style of some of her later work.

Other forms of influence derive from De Wet's close working relations with her publishers (e.g. Marietjie Coetzee and HAUM Literary in South Africa and Oberon Books in London), ; her international agent, Gordon Dickerson; and a number of talented directors, including Denys Webb, Lucille Gillwald, Lindsay Reardon, Gary Gordon, Steven Stead, Juanita Finestone-Praeg and director/designer Marthinus Basson. Other directors associated with productions of her work include André Stolz and Gaerin Hauptfleisch

The plays

This list includes all the published and unpublished play texts found and identified to date. They are listed under the original title (with date of first production in brackets, with the titles of any translations). Only in the case where an English or Afrikaans version is a significant adaptation and can be considered a new text, is it listed separately.

A number of the texts were written for and/or utilized by the First Physical Theatre Company, and are marked with an asterisk*. The list also includes two bilingual tributes for De Wet, compiled and performed by the Drama Departments of Stellenbosch University (1995) and Rhodes University (2013) respectively (marked with a double asterisk**).

According to Gordon Dickerson, De Wet's international agent, her plays have been translated into quite a few other languages besides English, and the Greeks and Czechs have to date performed more of Reza’s plays than any other countries, apart from the United Kingdom,

For details of each individual work and the various productions and editions, click on the appropriate link below


Heathcliff and the Dancing Bear (early 1980s). See: Heathcliff Goes Home (2007).

Diepe Grond (1985 - English: Deep Ground, Run to Ground and African Gothic)

Op Dees Aarde (1986 - English: Good Heavens)

Nag, Generaal (1988). See: Breathing In (2004) and Asem ()

In a Different Light (1989)

A Worm in the Bud (1990).

Mirakel (1992 - English: Miracle)

Mis (1993 - English: Missing)

Dialogue* (1994)

Drif (1994 - English: Drift and Crossing)

Drifte (1995)**

The Unspeakable Story* (1995)

Dead: A Slight History of One Called Ivan* (1996)

Drie Susters Twee (1997 - English: Three Sisters Two)

Lilith* (1998)

Yelena (1998)

Bessie's Head* (2000)

On the Lake* (2001)

lake…beneath the surface* (2001)

Notes for the Curious (2003)

Breathing In (2004 - Afrikaans: Asem) See: Nag, Generaal (1988)

Concealment (2004)

The Brothers (2006 - Afrikaans: Broers)

Verleiding (2005)

Heathcliff Goes Home (2007). See: Heathcliff and the Dancing Bear (early 1980s).

Blou Uur (2008)

Die See (2011)

Drifting (2013)**

Published collections containing plays by De Wet

Vrystaat Trilogie (“Free State Trilogy”, 1991)

Trits: Mis, Mirakel en Drif (1993)

Open Space: Six Contemporary Plays from Africa (1995)

Drama for a New South Africa (1999)

De Wet: Plays One (2000)

De Wet: A Russian Trilogy (2002)

The Art of Physical Intelligence Volume 1: "Experiments in Physical Theatre". (2002).

De Wet: Plays Two (2005)

De Wet: Two Plays (2007)

As Lecturer

In 1982 de wet and her husband moved to Grahamstown, where she initially worked in the English department, before joining the drama department at Rhodes University. She taught there for more than 20 years, later being made a professor, and retiring in 2007.

Awards and tributes

In 1986 Reza de Wet was awarded for Diepe Grond as the dramatist of the year.

De Wet was the first playwright, and only the second author, to win the prestigious Hertzog Prize twice in a row for the same medium (in 1994 for the two collectionjs Vrystaat-trilogie and Trits: Mis, Mirakel, Drif, and 1996 for Drie susters twee).

In 2005, de Wet was awarded the Fleur du Cap for her play Breathing In.

In April 2013 the Rhodes University Drama Department devised a stage production entitled Drifting, performed as tribute to the playwright at the Rhodes University Theatre during Graduation on 4, 6 and 9 April 2013 at 7:00pm. Similar tributes were held at other Universities in South Africa.

The Hoër Meisieskool Oranje in Bloemfontein named their annual Drama festival after Reza de Wet.

The Reza De Wet Post Graduate Bursary fund was established at Rhodes University in her memory.

Sources

Tercia Barnard. 1997. Spel as ekspressie van die rituele in Reza de Wet se Trits. Unpublished master’s thesis. Stellenbosch: University of Stellenbosch. Temple Hauptfleisch. 1993. "Die dramaturg as towenaar: ʼn Inleiding tot Mis, Mirakel en Drif". In: Reza de Wet. 1993. Trits (Mis, Mirakel, Drif). HAUM-Literêr.

Die Beeld 26 June 2001.

Greg Homann. 2015. "Emerging Playwrights and Significant Plays". In: Martin Middeke, Peter Paul Schnierer and Greg Homann (editors). The Methuen Drama Guide to Contemporary South African Theatre. London: Bloomsbury Publishing.

Anja Huismans, and Juanita Finestone. 1995. "Interview: Anja Huismans and Juanita Finestone talk to Reza de Wet". South African Theatre Journal, 9 (1): 89 – 95.

Yvette Hutchison and Kole Omotoso. 1995. Open Space: Six Contemporary Plays from Africa. Cape Town: Kagiso Publishers.

Shirley Johnston. 2018. "Drifte - Discovering the Secrets of Reza de Wet’s Heart". (Draft manuscript, courtesy of the author.)

Gordon Dickerson. 2018. Personal correspondence with Temple Hauptfleisch.

Marisa Keuris. 2018. Die spore van ouer Afrikaanse dramaturge en skrywers in Reza de Wet se Drif" (Draft manuscript, courtesy of the author)

Dorothea van Zyl. 2014. "Reza de Wet (1953-2012)". In: Van Coller, H.P. (Ed.). Perspektief & Profiel. ’n Afrikaanse literatuurgeskiedenis. Part 3. Pretoria: Van Schaik.

Anton Krueger. 2009. Experiments in Freedom: Explorations of Identity in New South African Drama. Cambridge Scholars Publishing.[5]

Juanita Praeg. 2018. "Drifting: Reminiscing. Remembering. Reinventing. Reza" (Draft manuscript, courtesy of the author.)

Daniël Botha Stander. 2016. Reza de Wet’s Channeling of the Long Nineteenth Century on Post-1994 South African Stages. Unpublished MA thesis, University of Stellenbosch.[6]

Danie Stander. 2017. "Reza de Wet – Haar Lewe en Werke", In: Programme for KKNK Festival, 2017[7]

Hester Rossly van der Wal. 2005. Vrouefigure in Reza de Wet se Drama-oeuvre. Unpublished master’s thesis. Pretoria: University of South Africa.[8]

http://www.argief.litnet.co.za/cgi-bin/giga.cgi?cmd=cause_dir_news_item&news_id=64476&cause_id=1270

http://en.wikipedia.org/wiki/Reza_de_Wet

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https://www.oberonbooks.com/reza-de-wet.html

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