Glumlazi
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229829 , vital:49715 , xlink:href="https://hdl.handle.net/10520/EJC47808"
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- Date Issued: 2009
Handspring Puppet Company, Jane Taylor (Ed.)
- 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
Gazing at Exhibit A
- 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
‘Don't educate them out of educating themselves’
- 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
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- Date Issued: 2021
Nothing forever
- 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
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.
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- Date Issued: 2019
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
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"
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- Date Issued: 2009
Betty, Zorg and Me
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225552 , vital:49234 , xlink:href="https://doi.org/10.1080/00138398.2019.1636529"
- Description: This essay reminisces about the author’s encounters with Betty Blue at three different stages in his life. It reflects on stylistic elements of the film (as exemplar of Jean-Jacques Beineix’s Cinéma du look) as well as its portrayal of gender, sexuality, artistic aspiration and the concept of freedom. The essay also ruminates on the concept of having favourites and the synchronicity required to make a magical movie.
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- Date Issued: 2019
Forays into contemporary South African theatre
- 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
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.
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- Date Issued: 2015
Fashionably ethnic
- 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
in the council chambers
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229862 , vital:49718 , xlink:href="https://hdl.handle.net/10520/EJC47802"
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- Date Issued: 2008
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.
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- Date Issued: 2018
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"
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- Date Issued: 2013
Reader in comedy
- 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
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 …
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- Date Issued: 2014
Part II Zef/poor white kitsch chique
- 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.
- Full Text:
- Date Issued: 2012
Nine Notes on Lisbon
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229807 , vital:49712 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
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