Revolutionary trends at the National Arts Festival 2017 (an overview)
- Authors: Krueger, Anton
- Date: 2018
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225563 , vital:49235 , xlink:href="https://doi.org/10.1080/10137548.2017.1407025"
- Description: My 2017 Fest Everybody's festival is different. Each individual charts their own course in navigating this vast, unwieldy, multidisciplinary festival of festivals that happens every year in the Eastern Cape. Since the long running print version of the festival paper, Cue went under this year when Standard Bank withdrew funding, I wasn't officially reviewing and this freed me up to play a bit more and to see things that appealed to me, rather than having to attend shows from a sense of obligation.
- Full Text:
- Date Issued: 2018
- Authors: Krueger, Anton
- Date: 2018
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225563 , vital:49235 , xlink:href="https://doi.org/10.1080/10137548.2017.1407025"
- Description: My 2017 Fest Everybody's festival is different. Each individual charts their own course in navigating this vast, unwieldy, multidisciplinary festival of festivals that happens every year in the Eastern Cape. Since the long running print version of the festival paper, Cue went under this year when Standard Bank withdrew funding, I wasn't officially reviewing and this freed me up to play a bit more and to see things that appealed to me, rather than having to attend shows from a sense of obligation.
- Full Text:
- Date Issued: 2018
St. Petersburg
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229818 , vital:49713 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229818 , vital:49713 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
The implacable grandeur of the stranger
- Authors: Krueger, Anton
- Date: 2012
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229430 , vital:49673 , xlink:href="https://doi.org/10.1080/10137548.2013.799798"
- Description: South Africa is a nation of strangers, an uneasy mishmash of heterogeneous economic groupings, cultures and languages, a nation of marginalised minorities awkwardly pasted together. Numerous attempts have been made by its government to define and bolster a sense of nationalism and to create a sense of cohesion; however, a shadow side of this appeal for national identity has been the rise in xenophobic violence precipitated by the steady influx of refugees into the country. The title of this article is drawn from Albert Camus’s introduction to his disarming novella of dislocation, L’Etranger (1942), and I would like to explore some of the philosophical implications of representing strangers in different ways. Drawing on works by Zygmunt Bauman, Georg Simmel and Julia Kristeva, I will consider ambivalences towards the stranger represented in Magnet Theatre’s production (2010) of Die Vreemdeling [The Stranger], and pose a few questions about our relationship with the unknown. Attempts to familiarise the constituents of various communities with aspects of each other’s strangeness is a project which has typified much South African theatre in the past; and yet this is an approach which stands in sharp contrast to the importance granted processes of defamiliarisation first proposed so succinctly by Victor Shklovsky in 1917. Instead of attempts to harness and explain the unfamiliarity of others in order to communicate diversity, a celebration of the grandeur of the stranger may provide a more enriching alternative.
- Full Text:
- Date Issued: 2012
- Authors: Krueger, Anton
- Date: 2012
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229430 , vital:49673 , xlink:href="https://doi.org/10.1080/10137548.2013.799798"
- Description: South Africa is a nation of strangers, an uneasy mishmash of heterogeneous economic groupings, cultures and languages, a nation of marginalised minorities awkwardly pasted together. Numerous attempts have been made by its government to define and bolster a sense of nationalism and to create a sense of cohesion; however, a shadow side of this appeal for national identity has been the rise in xenophobic violence precipitated by the steady influx of refugees into the country. The title of this article is drawn from Albert Camus’s introduction to his disarming novella of dislocation, L’Etranger (1942), and I would like to explore some of the philosophical implications of representing strangers in different ways. Drawing on works by Zygmunt Bauman, Georg Simmel and Julia Kristeva, I will consider ambivalences towards the stranger represented in Magnet Theatre’s production (2010) of Die Vreemdeling [The Stranger], and pose a few questions about our relationship with the unknown. Attempts to familiarise the constituents of various communities with aspects of each other’s strangeness is a project which has typified much South African theatre in the past; and yet this is an approach which stands in sharp contrast to the importance granted processes of defamiliarisation first proposed so succinctly by Victor Shklovsky in 1917. Instead of attempts to harness and explain the unfamiliarity of others in order to communicate diversity, a celebration of the grandeur of the stranger may provide a more enriching alternative.
- Full Text:
- Date Issued: 2012
The Monkey Cage
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229763 , vital:49708 , xlink:href="https://hdl.handle.net/10520/EJC149510"
- Full Text:
- Date Issued: 2013
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229763 , vital:49708 , xlink:href="https://hdl.handle.net/10520/EJC149510"
- Full Text:
- Date Issued: 2013
The politics of interweaving performance cultures
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225719 , vital:49252 , xlink:href="https://doi.org/10.1080/10137548.2015.1014170"
- Description: According to the former president of the International Federation of Theatre Research (IFTR), Brian Singleton, the study of ‘[i]nterculturalism as a practice and a theory gained currency with Richard Schechner’s anthropologically-inspired new discipline of performance studies’ (p. 79). Schechner’s new discipline led to the formation of the annual Performance Studies International (PSI) conferences, and earlier this year I attended the twentieth instalment in Shanghai, which was held under the rubric of ‘Tradition and the Avant-Garde’. One of the things which struck me was the extent to which the (relatively) newly economically empowered Chinese theatre makers were creating grand productions based on Western theatre traditions. For example, many of the presentations for delegates were based on Western texts (such as Hamlet, Miss Julie and even a play by Woody Allen). And yet these productions were performed in Mandarin, using purist Chinese forms, such as Beijing Opera. During the discussions there seemed to be an awkward defensiveness from some of the Chinese hosts who insisted they were not ‘copying’ Western theatre, but that they were using it to express a pure Chinese aesthetic. There were also other performances at the conference, such as a series of parables called Confucius Disciples, which told didactic tales with content very foreign to a Western audience. A visiting troupe from Bulgaria presented their own version of some of these parables, using a strongly East European aesthetic to convey a Chinese message. In this way, experiments with cultural forms and content were clearly foregrounded by the conference presentations.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225719 , vital:49252 , xlink:href="https://doi.org/10.1080/10137548.2015.1014170"
- Description: According to the former president of the International Federation of Theatre Research (IFTR), Brian Singleton, the study of ‘[i]nterculturalism as a practice and a theory gained currency with Richard Schechner’s anthropologically-inspired new discipline of performance studies’ (p. 79). Schechner’s new discipline led to the formation of the annual Performance Studies International (PSI) conferences, and earlier this year I attended the twentieth instalment in Shanghai, which was held under the rubric of ‘Tradition and the Avant-Garde’. One of the things which struck me was the extent to which the (relatively) newly economically empowered Chinese theatre makers were creating grand productions based on Western theatre traditions. For example, many of the presentations for delegates were based on Western texts (such as Hamlet, Miss Julie and even a play by Woody Allen). And yet these productions were performed in Mandarin, using purist Chinese forms, such as Beijing Opera. During the discussions there seemed to be an awkward defensiveness from some of the Chinese hosts who insisted they were not ‘copying’ Western theatre, but that they were using it to express a pure Chinese aesthetic. There were also other performances at the conference, such as a series of parables called Confucius Disciples, which told didactic tales with content very foreign to a Western audience. A visiting troupe from Bulgaria presented their own version of some of these parables, using a strongly East European aesthetic to convey a Chinese message. In this way, experiments with cultural forms and content were clearly foregrounded by the conference presentations.
- Full Text:
- Date Issued: 2015
the programmable bride
- Authors: Krueger, Anton
- Date: 2014
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229698 , vital:49701 , xlink:href="https://hdl.handle.net/10520/EJC156969"
- Description: the man gently opens his machine and finding an agreeable port for his firm flash, he eagerly installs the software he's been waiting on for so very long... once booted up, the man takes his first tentative steps, finding his bride perfect in every way, already completely in love with him, and dreamy... the man tenderly reaches out for her-she understands him so well, she's concerned about his needs, she wants to know how he feels, wants only to please him, she only-/but-there's an interruption/somebody's on the stairs, someone's knocking at his door-the man is forced to close her down a little too abruptly, shutting the machine to attend to other matters while he's away he can't wait to get back, he thinks about her all the time; he longs to flip his laptop lid up, to open her again... but when finally he silently prises open the instrument of his heart's desires, she seems a little disorientated... he didn't shut her down properly …
- Full Text:
- Date Issued: 2014
- Authors: Krueger, Anton
- Date: 2014
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229698 , vital:49701 , xlink:href="https://hdl.handle.net/10520/EJC156969"
- Description: the man gently opens his machine and finding an agreeable port for his firm flash, he eagerly installs the software he's been waiting on for so very long... once booted up, the man takes his first tentative steps, finding his bride perfect in every way, already completely in love with him, and dreamy... the man tenderly reaches out for her-she understands him so well, she's concerned about his needs, she wants to know how he feels, wants only to please him, she only-/but-there's an interruption/somebody's on the stairs, someone's knocking at his door-the man is forced to close her down a little too abruptly, shutting the machine to attend to other matters while he's away he can't wait to get back, he thinks about her all the time; he longs to flip his laptop lid up, to open her again... but when finally he silently prises open the instrument of his heart's desires, she seems a little disorientated... he didn't shut her down properly …
- Full Text:
- Date Issued: 2014
The pump room
- Authors: Krueger, Anton
- Date: 2012
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225764 , vital:49256 , xlink:href="https://doi.org/10.1080/10137548.2012.754084"
- Description: I like Allan Kolski Horwitz. He’s done great things for independent publishing in South Africa. Through his company, Botsotso, he’s probably responsible for publishing more poetry, prose and drama than any single person in the country today. The industriousness of his one-man operation has generously sponsored and nurtured thousands of pages of local literature over the course of many years. This is why it makes me so uncomfortable to say that I really don’t like this play. It gives me no pleasure to write a negative review, and especially not about books written by people I like. If I hadn’t already committed myself to writing this review, I would have avoided it. Nevertheless, I had, so I won’t.
- Full Text:
- Date Issued: 2012
- Authors: Krueger, Anton
- Date: 2012
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225764 , vital:49256 , xlink:href="https://doi.org/10.1080/10137548.2012.754084"
- Description: I like Allan Kolski Horwitz. He’s done great things for independent publishing in South Africa. Through his company, Botsotso, he’s probably responsible for publishing more poetry, prose and drama than any single person in the country today. The industriousness of his one-man operation has generously sponsored and nurtured thousands of pages of local literature over the course of many years. This is why it makes me so uncomfortable to say that I really don’t like this play. It gives me no pleasure to write a negative review, and especially not about books written by people I like. If I hadn’t already committed myself to writing this review, I would have avoided it. Nevertheless, I had, so I won’t.
- Full Text:
- Date Issued: 2012
Uncle Noodle
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229676 , vital:49699 , xlink:href="https://hdl.handle.net/10520/EJC176906"
- Description: “Ah,” he seemed surprised to see me, “Now you find out who really cares...” His kidneys hadn‟t been on the job in months, and with the machines failing, his hands were fattening into stubby yellow fingers, as the waste shored up inside of him. I touched his arm, and we joked about the broad blunt strokes of the casiotone the old dame played for the lunch-eaters next door. Uncle Noodle had always been my favourite. In a world where adults were always certain, ready to disdain and judge and pass verdict – I loved it that he was indecisive, insecure, unsure. Often wretched, often defeated. His heart had chasmed in the wake of his wife‟s leaving, finally dividing him from all his hopes, collapsing his dignity destroying his happiness machinery.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229676 , vital:49699 , xlink:href="https://hdl.handle.net/10520/EJC176906"
- Description: “Ah,” he seemed surprised to see me, “Now you find out who really cares...” His kidneys hadn‟t been on the job in months, and with the machines failing, his hands were fattening into stubby yellow fingers, as the waste shored up inside of him. I touched his arm, and we joked about the broad blunt strokes of the casiotone the old dame played for the lunch-eaters next door. Uncle Noodle had always been my favourite. In a world where adults were always certain, ready to disdain and judge and pass verdict – I loved it that he was indecisive, insecure, unsure. Often wretched, often defeated. His heart had chasmed in the wake of his wife‟s leaving, finally dividing him from all his hopes, collapsing his dignity destroying his happiness machinery.
- Full Text:
- Date Issued: 2015
White Guys Can't Beg
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229796 , vital:49711 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229796 , vital:49711 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
Whose voice is it anyway?
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225695 , vital:49249 , xlink:href="https://doi.org/10.1080/1013929X.2015.1086195"
- Description: This essay surveys a number of different interpretations of the metaphor of “voice”. It begins by exploring the use of free writing exercises as a means of nurturing the emergence of physical (audible) voice in creative writing classes before assessing some of the ramifications and implications of the trope, both diachronically and synchronically. A key issue of this discussion is whether voice is regarded as individual or social.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225695 , vital:49249 , xlink:href="https://doi.org/10.1080/1013929X.2015.1086195"
- Description: This essay surveys a number of different interpretations of the metaphor of “voice”. It begins by exploring the use of free writing exercises as a means of nurturing the emergence of physical (audible) voice in creative writing classes before assessing some of the ramifications and implications of the trope, both diachronically and synchronically. A key issue of this discussion is whether voice is regarded as individual or social.
- Full Text:
- Date Issued: 2015
Woza Albert! (Student Editions)
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229598 , vital:49691 , xlink:href="https://doi.org/10.1080/10137548.2018.1560975"
- Description: Publishing Woza Albert! back in 1983 was a smart move by Methuen Publishing, since it went on to become South Africa’s most canonical dramatic text. As Temple Hauptfleisch points out in his introduction to this new edition, the play has become one of the most anthologized and produced of all South African plays, a regular prescribed work…particularly so in the new curricula introduced since 1994…a major work in the South African literary canon, one of the most studied and produced of the plays from the turbulent 1980s.
- Full Text:
- Date Issued: 2019
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229598 , vital:49691 , xlink:href="https://doi.org/10.1080/10137548.2018.1560975"
- Description: Publishing Woza Albert! back in 1983 was a smart move by Methuen Publishing, since it went on to become South Africa’s most canonical dramatic text. As Temple Hauptfleisch points out in his introduction to this new edition, the play has become one of the most anthologized and produced of all South African plays, a regular prescribed work…particularly so in the new curricula introduced since 1994…a major work in the South African literary canon, one of the most studied and produced of the plays from the turbulent 1980s.
- Full Text:
- Date Issued: 2019
‘Don't educate them out of educating themselves’
- Krueger, Anton, Wunder, Albert
- Authors: Krueger, Anton , Wunder, Albert
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225481 , vital:49226 , xlink:href="https://doi.org/10.5920/pam.1005"
- Description: Al Wunder's biography, in his own words: I had four lucky breaks that precipitated my becoming a teacher of improvised movement theatre. Between the ages of eight and fourteen I broke my right leg four different times. In 1962, I began modern dance classes with Alwin Nikolais as a physical therapy. His choreography and improvisation sections of class inspired me to teach and perform professionally. I spent eight years studying, teaching, choreographing, and performing with Nikolais. 1970 saw me move to the San Francisco Bay area where I opened a dance studio teaching Nikolais dance technique and improvisation. In 1971, I joined forces with Terry Sendgraff and Ruth Zaporah creating The Berkeley Dance Theater and Gymnasium. My focus was to create a way to teach dance technique through improvisation. I met my Australian wife, Lynden Nicholls, in 1981 when she came to study Motivity at Terry’s studio in Berkeley. In 1982, I moved to Melbourne, Australia where Lynden and I set up a dance studio. My focus changed from teaching dance technique improvisationally to teaching improvised movement theatre performance
- Full Text:
- Date Issued: 2021
- Authors: Krueger, Anton , Wunder, Albert
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225481 , vital:49226 , xlink:href="https://doi.org/10.5920/pam.1005"
- Description: Al Wunder's biography, in his own words: I had four lucky breaks that precipitated my becoming a teacher of improvised movement theatre. Between the ages of eight and fourteen I broke my right leg four different times. In 1962, I began modern dance classes with Alwin Nikolais as a physical therapy. His choreography and improvisation sections of class inspired me to teach and perform professionally. I spent eight years studying, teaching, choreographing, and performing with Nikolais. 1970 saw me move to the San Francisco Bay area where I opened a dance studio teaching Nikolais dance technique and improvisation. In 1971, I joined forces with Terry Sendgraff and Ruth Zaporah creating The Berkeley Dance Theater and Gymnasium. My focus was to create a way to teach dance technique through improvisation. I met my Australian wife, Lynden Nicholls, in 1981 when she came to study Motivity at Terry’s studio in Berkeley. In 1982, I moved to Melbourne, Australia where Lynden and I set up a dance studio. My focus changed from teaching dance technique improvisationally to teaching improvised movement theatre performance
- Full Text:
- Date Issued: 2021