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A Century of South African Theatre

- Krueger, Anton

Authors: Krueger, Anton
Date: 2019
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229623 , vital:49694 , xlink:href="https://doi.org/10.1080/10137548.2020.1716515"
Description: In many ways, this is an updated repackaging of Loren Kruger's seminal work of 20 years ago, Plays, Pageants and the Drama of South Africa (1999). The material has been extensively revised and reworked using similar categories as the first book, including: pageantry and representations of nationhood, neo-colonial theatre, urbanization and its consequences; the rise of Afrikaans theatre; theatres of resistance; black consciousness; and contemporary theatre. Some of these sections have been extended (such as a longer discussion of HIE Dhlomo) and there is also a completely new section which has not been published elsewhere on current theatre trends (cleverly titled “The Constitution of South African Theatre at the Present Time”).
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Date Issued: 2019

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A white man in exile

- Krueger, Anton

Authors: Krueger, Anton
Date: 2011
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229459 , vital:49677 , xlink:href="https://doi.org/10.1080/10137548.2011.636974"
Description: This article explores intersections between understandings of masculinity and nationalism. Etymologically, ‘patriotism’ refers to a love for a fatherland and a patriarchal order; it includes notions of loyalty, honour and a range of qualities often associated with conceptions of masculinity. But if gender remains fixed to these normative constructions, what happens to one’s sense of masculine identity when the national state changes? My interest lies in exploring how white South African men have been repositioned in terms of a shift in their gendered identification, with a reflection on the possibly tragic consequences of maintaining an overly rigid gender role identification. As long as masculinity is embedded within nationalism, it will be caught up within a defensive reactive mode which can turn self-destructive. In order to explore these ideas the article employs as its central metaphor the character of Dawid Olivier, who is the protagonist of Athol Fugard’s Sorrows and Rejoicings (2002).
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Date Issued: 2011

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at the conference in münich

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , poem
Identifier: http://hdl.handle.net/10962/462941 , vital:76349 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/EJC47821
Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
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Date Issued: 2010

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consumed society

- Krueger, Anton

Authors: Krueger, Anton
Date: 2008
Subjects: To be catalogued
Language: English
Type: text , poem
Identifier: http://hdl.handle.net/10962/462952 , vital:76350 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/EJC47802
Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
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Date Issued: 2008

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Fashionably ethnic

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229567 , vital:49688 , xlink:href="https://doi.org/10.1080/1013929X.2010.9678333"
Description: This essay highlights a shift in South African literature towards ideals of individualism and explores some of the paradoxes inherent in the competing claims of individuality and heritage. The characters created by Greig Coetzee in Happy Natives are examined as examples of identities constructed in terms of tradition, function and indoctrination. The comic potential of these incongruent identity constructions is then elaborated by means of Henri Bergson’s description of the humour arising from an inability to adapt to changing fashions. Ultimately, appeals towards tradition and individuality begin to look like similar proposals.
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Date Issued: 2010

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Forays into contemporary South African theatre

- Krueger, Anton

Authors: Krueger, Anton
Date: 2020
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229578 , vital:49689 , xlink:href="https://doi.org/10.1080/10137548.2021.1963112"
Description: Trying to keep up with what is going on in South African theatre today is an endlessly renewing process. The word ‘foray’ has associations of brief incursions into foreign territory. It’s an almost hesitant word, a venture into unexplored terrain. This hesitation feels apt in the sense that (at the time of writing), any description of a pre-Covid theatre is bound to feel strange. The landscape has shifted, and nobody is quite sure how things will look in a year from now. Nevertheless, this is a rich compendium of relatively recent theatre, as seen from within the country and also from the vantage of a global perspective. Almost all of the essays are drawn from a 2017 conference held in Brussels at the Université Libre de Bruxelles, called: ‘New Stage Idioms: South African Drama, Theatre and Performance in the Twenty-first Century.’Although the tone remains scholarly, the inclusion of different kinds of writers – not only academics but activists, playwrights and journalists – prevents the work from becoming overly dry.
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Date Issued: 2020

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Gazing at Exhibit A

- Krueger, Anton

Authors: Krueger, Anton
Date: 2013
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229643 , vital:49696 , xlink:href="http://liminalities.net/9-1/exhibit.pdf"
Description: Brett Bailey recently toured a new work in Europe and South Africa, called The Exhibit Series (2010-2013). In different countries the work has appeared under different titles—Exhibit A and Exhibit B, while Exhibit C will be produced in 2014. These productions replicate and parody ethnographic spectacles of the nineteenth century, interrogating European colonial atrocities in Africa, as well as contemporary xenophobia. They consist of a series of installations housed in individual rooms that audience members enter one by one. Inside these rooms one is confronted by beautifully arranged spectacles referencing historical atrocities committed in Namibia by German speaking peoples, as well as atrocities under the Belgian and French colonial regimes in the two Congos. The “exhibits” also include references to more recent incidents of European racism against migrants from Africa. The work has been both applauded and derided. In Berlin, for example, activists called it “a human zoo” and protested that this was “the wrong way to discuss a violent colonial history,”1 while others have called the work “haunting”, praising the production for its “dignity” and “beauty.”2
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Date Issued: 2013

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Handspring Puppet Company, Jane Taylor (Ed.)

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229658 , vital:49697 , xlink:href="https://0hdl.handle.net.wam.seals.ac.za/10520/EJC31088"
Description: Handspring Puppet Company recently won three prestigious London awards (including the Olivier) for their design of the production War Horse, which is still running to great acclaim in the West End. This beautiful book has been released at exactly the right time, at a highpoint of an extraordinary company which has been producing astonishing work for 28 years already. It is an appropriate celebration of their many marvellous designs for 11 plays and two operas.
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Date Issued: 2010

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Nothing forever

- Krueger, Anton

Authors: Krueger, Anton
Date: 2021
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225533 , vital:49233 , xlink:href="https://doi.org/10.5920/pam.1013"
Description: Thank you to everybody who made contributions to this bumper 2021 Special Issue on Improvisation. Many thanks to our peer reviewers and especially to co-editors Deborah and Daniel for their help with the selection and editing process which has now culminated in a baker’s dozen texts. With contributions from Australia, South Africa, and New Zealand, as well as from France, the USA and the UK, the issue includes five interviews, four articles, two book reviews, a reflection and a score.
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Date Issued: 2021

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Part II Zef/poor white kitsch chique

- Krueger, Anton

Authors: Krueger, Anton
Date: 2012
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225745 , vital:49255 , xlink:href="https://doi.org/10.1080/17533171.2012.715484"
Description: Ninja, who fronts the freak hip-hop band Die Antwoord, might not be quite what Desmond Tutu had in mind when he described South Africans as the “Rainbow People of God,”24 a happy harmonious amalgamation of different races. In his introduction to their seminal comic track “Enter the Ninja,” Ninja presents himself, rather, as a mongrel gutter dog, both embracing and parodying a syncretic fusion of the many different cultures and races of South Africa, celebrating as well as subverting the rainbow nation discourse. As he said in an interview with News24: “South African culture is quite a fucking fruit salad … a fucking fucked rainbow nation. South Africa's totally fucked … but in a cool way.”25 The cool side of being “fucked” in this way is “Zef.” Zef denotes a particular style of vulgar humor (in the usual sense of the word “vulgar,” but also with a nod to its origin in the Latin vulgaris for “mob” or “commoners”), which has been emerging more and more in South Africa during the past decade. It involves a way of presenting a persona in a purposefully degrading way, exaggerating one's appearance and mannerisms as low class, ill bred, and boorish. I would like to consider the recent popularity of “Zef” and examine its connection specifically to popular Afrikaans folk rock culture, a lineage of white poverty, and the feeling of disgrace experienced by many white Afrikaners after the end of apartheid.
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Date Issued: 2012

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Performing mindful creativity

- Krueger, Anton

Authors: Krueger, Anton
Date: 2017
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225574 , vital:49236 , xlink:href="https://doi.org/10.5920/pam.2017.05"
Description: This essay is grounded in the practical experience of three South African theatre practitioners who have all had some experience of mindfulness. It's based on interviews conducted with a performer (Andrew Buckland), a director (Janni Young), and a designer (Illka Louw). The aim of my conversations with these three was to explore ways in which mindfulness continues to enhance artistic practises, seeing our dialogues as a springboard to exploring intersections between creative practise and theories about mindfulness. To assist me in this process, I also interviewed Rob Nairn - co-founder of both the Mindfulness Association (UK) and Mindfulness Africa (RSA) - about key issues highlighting convergences between creativity and mindfulness. Some of the issues which are addressed include: the artist's relationship with fear, differing definitions of the value of conceptualisation, as well as whether or not the monkey mind (that is, the wandering mind) might hamper or help creativity.
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Date Issued: 2017

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Reader in comedy

- Krueger, Anton

Authors: Krueger, Anton
Date: 2017
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225684 , vital:49248 , xlink:href="https://doi.org/10.1080/10137548.2017.1409523"
Description: I really enjoyed this selection of excerpts on comedy. In 64 extracts, this comprehensive anthology covers 2375 years of mainly philosophical texts in 375 dense pages. From 360 BCE (Plato’s Philebus) to just the other day (Romanska’s Disability in Tragic and Comic Frame [2015]), this is an immense resource covering a lot of ground. The extracts don’t all apply specifically to theatre, though this is where the discussion begins, with the ancients. Later on, as new genres emerge, there are also entries relating to prose, film, story-telling and stand-up; but mainly, the writings have to do with laughter itself, and the role and function of comedy.
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Date Issued: 2017

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