English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In this paper, I discuss  Chapter 2, Section 9  (Klotz et al. 2016) as hybrid of postdramatic theatre and traditional forms of oral literature embedded in the South African performance tradition, the  izibongo  and  ntsomi.  I apply two of Lehmann’s core propositions “the irruption of the real” and the “reverberation of the voice in space” to account for the formal treatment of the subject matter and the tone of this contemporary ‘protest play.’ These departure points begin to account for its dependence on, and affirmation of, its collaborative authorship and presentation mode in the story-telling register which declares the ‘pastness’ of multiple individual experiences rather than their representation or enactment in an ongoing unfolding present. The ‘play’ comprises a montage of transcripts of authentic accounts of brutal atrocities and relentless discrimination on grounds of sexual preference and identity. As such, it continues the legacy of the powerful genre of South African protest theatre, but equally marks a departure from the tone and style established by that tradition to unsettle contemporary spectatorial expectations. The politico-aesthetic implications of the staging are central to the innovative achievements of the production and this discussion.

Staging Reverberations of Past Events: A Documentation and Analysis of the Poetics and Politics of Sibikwa Theatre’s Chapter 2 , Section 9