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Theatre voice as metaphor : the advocacy of a praxis based on the centrality of voice to performance

- Mills, Elizabeth

  • Authors: Mills, Elizabeth
  • Date: 2000
  • Subjects: Voice , Voice culture , Acting
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2141 , http://hdl.handle.net/10962/d1002373 , Voice , Voice culture , Acting
  • Description: This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.
  • Full Text:
  • Date Issued: 2000

Therapists' constructs of healthy functioning as aspirational goal in transformative psychotherapy

- Steyn, Reinette

  • Authors: Steyn, Reinette
  • Date: 2000
  • Subjects: Psychotherapy , Mental health -- South Africa , Mental health
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:3064 , http://hdl.handle.net/10962/d1002573 , Psychotherapy , Mental health -- South Africa , Mental health
  • Description: This dissertation reviews the ways in which psychotherapists working in relatively long-term 'transformational' therapies construct the outcome goals of their interventions. It is generally accepted that a therapist's beliefs about what constitutes mental health will influence the client, and will therefore facilitate a certain outcome accordingly. A problem in a long-term, 'non-directive' therapy is that the eventual outcome is not always visible in the interim development of the client or in the business of individual sessions. Without a clearly defined 'plan' or 'goal' there is a real danger of the intervention having opposite results to what would have been desirable, or no noticeably beneficial results, both of which can be an abuse of the client's investment and trust in the process. The absence of clearly constructed goals makes it difficult to assess efficacy of a therapeutic method used to attain an improved state of mental health that will be lasting, i.e. a positive 'transformation'; it also problematises comparisons across orientations. The identification of explicit goals is of special importance in a developing 'third-world' community like South Africa, where western ('European') concepts of mental health are being offered as an alternative to so-called 'indigenous healing' and where different cultural communities may have different expectations, needs or demands of their members 'in health'. Individual-based therapeutic orientations included in the research were psychoanalysis and psychoanalytic therapies, including object-relational therapies with various emphases and self psychology, as well as transformative types of hypnosis, Gestalt therapy, client-centred therapy and transactional analysis. Twenty of the semi-structured interviews with 52 therapists working in one or more of these areas were selected for construct analysis. Through analysis of the constructs of mental health as aspirational goal that emerged in therapists' talking about their experience of the process and the consequences of therapy observed in their patients, it appeared that there are generalisable constructs across various orientations in the transformative therapies. It is hoped that these constructs may serve as a foundation for further research in the problem areas indicated, but also that therapists working in the field may use this research not only as a basis for self-evaluation, but for adding to the constructs from their own experience, to the further enrichment of the whole field of work.
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  • Date Issued: 2000

Ti Gbeu

- Beta Simon (performer), Joe (bass), Alfred Young (guitar), Koukougnon, Kalua Dayag (percussion), Amos Stephen (pianos), Brass: Andre Laourou (trumpet), Manu Yodan (sax), Pinheiro Michel (trombone), Astrid, Brou Julie, Liazou Ped (chorus), Soro Mamadou (djembe), Amos Stephen (arranged by), Liazou Ped (duet), Sea Charif, Djedje Honorat

Tieou magni

- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure

Tolo

- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono

Tolon

- Adama Drame (performer, arranger, composer, djembe, tama, doumdoum, chekere, voice, harmonica), Yacouba Kone (djembe), Bakari Doumbia (zin-zin), Mamadou Diabate ( balafon), Djesou Mory Kante (accoustic and electric guitar), Adjara Cisse (lead vocal), Oulare, Mariame Sylla, Tagaly (chorus), Adama Troare (accoustic guitar), Augustin Lompo (bass), Bassirou Sanou (flute), Tinminu Adio (tama), Brass: Andre Laourou, Dadie, Franck Desamin, Dramane Kienou (djembe accompaniment), Lamine Soumano (kora), Seydoni Production B.F.

Tonetine Bi

- Selle Diop (comoser, performer), Souleymane Faye (arranged by), Lay Diagne (keyboards), Robson (accoustic guitar, percussion), Nagirou Dia, Selle Diop (chorus), Studio 2000

Topical Opinion - Organising on the mines

- SAIRR

  • Authors: SAIRR
  • Date: 2000
  • Subjects: SAIRR
  • Language: English
  • Type: text
  • Identifier: http://hdl.handle.net/10962/111247 , vital:33420
  • Description: When the National Union of Mineworkers was formed an experienced unionist said to me "organising workers in South Africa is the art of the possible". But organising workers in the mining industry is the art of the impossible. It has been the art of the impossible because it has been the art of trying to make a fundamental change in a system by using structures and instruments that were designed to perpetuate that system. It lias been the art of the impossible because it has been the art of trying to make a revolution with moderate tools tli at were invented to prevent a revolution. Because of the nature of the mining industry, which is conservative or ultraconservative by any definition, the black miner has been condemned to seek radical ends within a framework which was designed to prevent sudden and radical changes. For almost one hundred years now, black miners have not been able to change their status. The African Miners' Union in 1946 under J B Marks made an attempt but was brutally crushed by a combination of employer and government forces. It is against this background that our union has developed its organising strategies. Organising has taken place around a number of issues, some of which are safety, wages, and working- class unity.
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  • Date Issued: 2000

Touba

- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall

Tougan

- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz

Tougan (Dub)

- Founy Faya (author, composer, lead vocal), Marcelin Yace (flute), Evan's Yace (guitar, arrangement), Jojo (bass), Kone Ibrahim, Founy Faya (percussion), Astride, Oliza, Hariton T Cheky (chorus), Showbiz

Towards an understanding of the role of commercialisation in programming at the Malawi Broadcasting Corporation from 1995 to 1998 : a case study

- Chikunkhuzeni, Francis Chim'ndomo

  • Authors: Chikunkhuzeni, Francis Chim'ndomo
  • Date: 2000
  • Subjects: Malawi Broadcasting Corporation , Broadcasting -- Malawi , Public broadcasting -- Malawi , Broadcasting policy -- Malawi , Broadcast advertising -- Malawi
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:3422 , http://hdl.handle.net/10962/d1002875 , Malawi Broadcasting Corporation , Broadcasting -- Malawi , Public broadcasting -- Malawi , Broadcasting policy -- Malawi , Broadcast advertising -- Malawi
  • Description: Competition in many market-driven media systems in advanced industrial countries can sometimes compromise traditional public service broadcast values such as programming for diversity, citizenship, minority interests and national identity. This study investigates the presence and effects of commercial-logic in a state-owned broadcaster in a developing country: the Malawi Broadcasting Corporation. Using indepth interviews and analysis of records on finance and programme schedules, the study finds overwhelming indicators of the presence of commercial logic, not driven by competition, but a commitment to provide a public service under deteriorating financial conditions. Distinguishing between the impacts of advertising and sponsorship markets on media output, the study finds contradictory effects of commercialisation. Some effects confirm some of the adverse effects of commercialisation such as heavy sponsorinfluence on programme content, self-censorship among programme producers who avoid injuring sponsors and producers paying more attention to sponsored programmes at the expense ofthe quality of some non-sponsored public service programmes. However, effects are not always contrary to public service broadcasting but may Indeed reinforce such broadcasting. Commercialisation in some instances has led to the sustenance of a range of non-sponsored public service programmes including programmes to promote culture and civic rights. In general, this study highlights the need to focus on what is realistically possible within the dynamics of the Malawi Society as a precondition for a proactive and elaborate strategy for commercialisation ofthe country's public broadcaster.
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  • Date Issued: 2000

Towards reconciliation of structure with function in plasmodesmata—who is the gatekeeper?

- Botha, Christiaan E J, Cross, Robin H M

  • Authors: Botha, Christiaan E J , Cross, Robin H M
  • Date: 2000
  • Language: English
  • Type: Article
  • Identifier: vital:6497 , http://hdl.handle.net/10962/d1004493
  • Description: Whilst the structure of higher plant plasmodesmata was first described by Robards (1963. Desmotubule—a plasmodesmatal substructure. Nature 218, 784), and despite many subsequent intensive investigations, there is still much that remains unclear relating to their ultrastructure and functioning in higher plants. We have examined chemically fixed plant material, and suggest that the conformational changes seen in plasmodesmatal substructure, particularly the deposition of electron-dense extra-plasmodesmal material, is linked to either manipulation of the hormonal balance (as in Avocado fruit), or of osmotic potential in leaf blade material. These changes result in the deposition of β 1,3-glucan (callose) at the neck region of these plasmodesmata. This electron-dense material is deposited at the neck region of plasmodesmata, and forms a collar-like structure. The formation of a collar is shown to be coupled with loss of lucence within the cytoplasmic sleeve. The formation of a collar at the plasmodesmatal orifice thus results in encapsulation and closure of the plasmodesmatal orifice. Closure of the orifice coincides with a loss of electron-lucence and a lack of resolution of the desmotubule. These ultrastructural changes are potentially significant and could contribute to, result in, or assist in the down-regulation of cell to cell trafficking via plasmodesmata.
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  • Date Issued: 2000

Transcribing tales, creating cultural identities an analysis of selected written english texts of Xhosa folktales

- Naidu, Samantha

  • Authors: Naidu, Samantha
  • Date: 2000
  • Subjects: Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2187 , http://hdl.handle.net/10962/d1002229 , https://orcid.org/0000-0001-9456-8657 , Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
  • Description: This thesis maps a marriage of postcolonial theory and folklore studies. The progeny of this marriage is an analytic tool which can suitably and effectively tackle the subject of written folktale texts, whether they be part of a nineteenth century colonialist discourse, or a twenty-first century nationalist discourse. First, GM Theal's collection of folktale texts, Kaffir Folklore (1882), is analysed as part of his specific colonialist discourse. Theal formulated for himself, and for the Xhosa peoples, identities which consolidated the colonialisms he supported. I argue that these folktale texts, although a part of Theal's colonialist discourse, are hybrid, containing the voices of both coloniser and colonised. Second, the position of contemporary written folktales in a neo-colonialist and >new nationalist discourse=, is examined. The optimistic belief of scholars and authors, that folktales are a means of bridging cultural gaps, is questioned. Finally, it is shown that authors of folktale texts can synthesise diverse literary traditions in a hybrid artform. This synthesis, to some extent, embodies the >new nationalist= aim of a unified national cultural identity in South Africa. The central value of recognising the role of folktale texts in colonialist and nationalist discourses lies in the awareness that this type of literary activity in South Africa is a cross-cultural practice. The confluence of voices which constitutes these folktale texts, reveals that our stories are intertwined. In the past, the discourses of colonialism and apartheid controlled the formation of the diverse and hierarchised cultural identities of South Africa. But this is not to say that alternative stories of self-fashioning and cultural self-determination did not exist. In the folktale texts of writers such as Mhlope, Jordan, and even in Theal's colonial collection, different mediums, literary heritages and styles converge to create narratives which speak of cross-cultural interaction and the empowerment of the black voice. In post-apartheid South Africa, there is even greater opportunity to reshape stories, to recreate selves, and to redefine intercultural relations. This thesis has outlined how some of those stories, which use folktale texts as their central trope, are constructed and commodified. Not only do these reinvented folktale texts embody the heterogeneous cultural influences of South Africa, they also have the potential to promote, first, the understanding of cultural differences, and second, the acceptance of the notion of cultural hybridity in our society.
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  • Date Issued: 2000

VIP

- Didier Sourou Awadi aka DJ Awadi (performer), Amadou Barry aka Doug E Tee or Duggy-Tee (performer), Positive Black Soul (band name aka PBS), MALI K7 S.A. Ali Furka Toure Associe, Bamako

Visual literacy in adult basic education : a study of ABET learners' visual perception with regard to their general level of English second language learning

- Bouwer, Anne Margaret

  • Authors: Bouwer, Anne Margaret
  • Date: 2000
  • Subjects: English language -- Study and teaching (Secondary) -- Foreign speakers Visual literacy -- South Africa Adult education -- South Africa
  • Language: English
  • Type: Thesis , Masters , MEd
  • Identifier: vital:1821 , http://hdl.handle.net/10962/d1003707
  • Description: Adult learners face many difficulties in their learning programmes, particularly due to the fact that having mastered literacy in their mother tongues, they move on to further educational programmes which are mostly produced in English. In contemporary society, people need to be adept in a number of literacies, termed multiliteracies. Adult learners are rarely taught visual competence as visual images are relegated to illustrations for written texts, and attention is mainly focussed on the all-important written word. Adult basic education learners need to be able to interpret pictures in books, newspapers and magazines, just as much as they need to be able to read and write. It is the premise of this research that visual literacy enhances thinking skills and that adult learners need to be actively taught how to interpret visual images in order to more ably deal with the written word, the more 'important' part of literacy. The goals of this research are to develop understanding of the processes which go into understanding images and text, and to examine how pictures can be used to help adult learners develop proficiency in English. Another goal is to teach learners the basics of visual literacy so as to improve their comprehension of the plethora of images surrounding them. The research findings could help to inform adult educators facing the current crisis in Adult Basic Education and Training in South Africa, focusing on a little-studied aspect of literacy, visual literacy, one of the critical outcomes in the new South African curriculum for Adult Education and one of the multiliteracies required by citizens of today's world.
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  • Date Issued: 2000

Wale Niouma

- Banani Kone (composer, performer, arranger), Nalini, Mamani Keita, Bintou Camara (chorus), Dominique Sablier (piano), Raphael Chossin (drums), Julio (bass guitar), Mouriba Koita, Fousseni Kouyate (N'goni), Moussa Kone, Djelikedjan, Yacou (cora), Oumar Dagon, Moussa Kouyate, Partrick (guitars), Kerfala Kante (arranger), Eric Bono

Wali Diawara

- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batass (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure

Wali nyuman don

- Saly Sidibe, Harouna Bary (arrangement), Adama Drame (guitar solo), Batoss (bass guitar), Lamine Camara (electric piano), Mamadou Koita (Djembe), Harouna Samake (N'goni), Sidi Coulibaly (drums), Awa Diabate, Sanota Doumbie (chorus), Ali Landoure

Wanita

- Rokia Traore (author, composer, arranger, interpreter, lead singer, guitar), Coco Mbassi, Rokia Traore (chorus), Adama Diarra (balafon), Mamah Diabate, Andra Kouyate (N'Goni), Sidiki Camara (percussion), Label Bleu

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