Temple Hauptfleisch | Stellenbosch University (original) (raw)

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Papers by Temple Hauptfleisch

American Anthropologist, Oct 28, 2009

DOAJ (DOAJ: Directory of Open Access Journals), Jun 1, 2017

In a context characterized by historical and ideological divisions between the (de)colonial privi... more In a context characterized by historical and ideological divisions between the (de)colonial privileging of written (vs oral) forms through published literature, and the seen importance of strengthening the nation's literary archive, it is a vexed question whether The Methuen Drama Guide to Contemporary South African Theatre is a welcome addition to literature on South African performance.

Please help us populate SUNScholar with the post print version of this article. It can be e-maile... more Please help us populate SUNScholar with the post print version of this article. It can be e-mailed to: scholar@sun.ac.zaLettere En WysbegeerteDram

DOAJ (DOAJ: Directory of Open Access Journals), Jun 1, 2020

Research in African Literatures, Mar 1, 2002

DOAJ (DOAJ: Directory of Open Access Journals), Dec 1, 2017

Approaches and Methods in Event Studies, 2016

South African Theatre Journal, 2000

Lettere En WysbegeerteSentrum vir TeaternavorsingPlease help us populate SUNScholar with the post... more Lettere En WysbegeerteSentrum vir TeaternavorsingPlease help us populate SUNScholar with the post print version of this article. It can be e-mailed to: scholar@sun.ac.z

Theatre Research International, Oct 1, 2010

This article considers fi v e tipping points or phases in the dev elopm ent of m odern theatre st... more This article considers fi v e tipping points or phases in the dev elopm ent of m odern theatre studies in South A frica. It b eg ins w ith the period from 1925 to 1935, a tim e w hen the fi rst m ajor theatre history appeared, a fully fl edg ed (W estern) theatre sy stem w as estab lished and the A frican theatre tradition w as recog niz ed. It details 194 5 to 1962 for the estab lishm ent of a coherent professional theatre sy stem , the fi rst state-funded theatre com pany and the fi rst dram a departm ents. Thereafter, 1970 to 1985 is identifi ed as the m ost sig nifi cant period in relation to the political strug g le for lib eration in South A frica, w hile the last tw o phases (1988-94 and 1997-9) under consideration are characteriz ed b y an increase in research output and b y the need for practitioners and com m entators to seek reconciliation and healing throug h theatre and perform ance.

Communicatio, 1980

The basic premis of the model is this that the communicative tools employed in the play are not w... more The basic premis of the model is this that the communicative tools employed in the play are not words alone, nor gestures alone, but a complex combination of many elements, including the preconceptions an reactions of the audience itself. To deal with this complexity, we might ...

South African Theatre Journal, 2010

This issue of SATJ is interesting for three reasons. Firstly, it is the first Special Issue of th... more This issue of SATJ is interesting for three reasons. Firstly, it is the first Special Issue of the Journal to be devoted to Movement, Dance and Physical Theatre - and we would like to thank our guest editors, Marth Munro and Marie-Heleen Coetzee, not only for a brilliant idea, but for their immense efforts which have produced a remarkable volume of fine scholarship that in many ways challenges our notions of theatre and performance research.

South African Theatre Journal, 1991

South African Theatre Journal, 1993

South African Theatre Journal, 1990

On the 2nd of February 1990 a single revolutionary speech in parliament changed the lives of ever... more On the 2nd of February 1990 a single revolutionary speech in parliament changed the lives of everyone in South Africa. All the events leading up lo and surrounding the release of Nelson Mandela and the proposals for a "new South Africa" were, in their way, public perfonmnces, inextricably woven into the fabric of our society, the theatre of a country (possibly) awakeningconfusedly, painfully, excitedlyto its true inheritance. Amid this intensive performance activityin and outside the public mediawhat has happened to our theatre? What will happen to it? Clearly many things have changed, or are in the process of changing. Certainly the context of our theatre has changed enough to demand a certain reorientation in terms of focus and commitmenta factor clearly recognized by the ANC and its cultural desk as well. This year's Grahamstown Festival for example, was a most crucial one in this respect, for it was the first real opportunity for any changes that have taken place to be displayed in cultural form. The occasion could also display some of the confusion and uncertainty which may lurk behind it all. For instance, playwrights and companies who have achieved a certain relatively "safe" distinction for themselves

Communicatio, 1985

The author discusses alternative perspectives on the old paradigm for theatre studies and researc... more The author discusses alternative perspectives on the old paradigm for theatre studies and research in South Africa. He starts by discussing the characteristics of South African theatre research and points to aspects such as the geo-cultural placement and the multi-cultural nature of ...

South African Theatre Journal, 1988

... Written in 1844 by Andrew Geddes Bain and George Rex, and performed in Grahamstown Kaage Kekk... more ... Written in 1844 by Andrew Geddes Bain and George Rex, and performed in Grahamstown Kaage Kekkelbek /Or Life among the Hottentots) is ... current phase of the shift and was to produce writers as varied as Gibson Kente, Fatima Dike, Zakes Mda, Matsemela Manaka, Maishe ...

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