Transcending dramatic space divisions: the use of metadramatic and ‘spect-actor’ techniques in theatrical arts – the case of a student manuscript and performance

Abstract

In this article we discuss dramatic space with reference to physical spatial demarcations, as well as the metaphysical divisions implied by these spatial demarcations. Our argument centres on three approaches to dramatic semiotics: (1) the realist theatrical (or illusionist) propositions; (2) the Brechtian Epic theatrical techniques; and (3) the metadramatic and ‘spect-actor’ strategies. In discussing these approaches we will make reference to the participatory roles (real or assumed) of the audience, the cast members (actors/directors) and the text. Our discussion of these concepts will be based on the stage performance of an unpublished play, Ndiyindonda Ungumfazi, co-written and directed by STM Luzuka and performed by first-year students at the then University of Transkei (now Walter Sisulu University) auditorium in September 2004 and at the 2005 Grahamstown National Arts Festival.

Keywords:

• metadramatic techniques
• theatre semiotics
• efficacious theatre
• audience participation
• space in drama and performance

Notes

1 The title of the play translates literally as ‘I’m a Man, You’re a Woman.’ The phrase is symbolically used in isiXhosa, since it is often the catchphrase uttered by men when they feel that their wives or girlfriends are undermining or disrespecting them. As such, it has an impact on the audience, since they could easily relate to its symbolic meaning. Even though the play is almost entirely in English, code switching was also employed in cases where the translation would water down the actually meaning of the phrases or words.

2 Amadikazi is a shortened form of the term amadikamzi, which means women who voluntarily left their husbands and returned to their maiden homes. It does have feminist connotations, since it accords women the freedom of choice in traditional and patriarchal settings. However, of late the term has assumed pejorative connotations to mean either prostitutes or promiscuous (or ‘loose’) women. In this play the term is used in its etymological sense of freedom for women, especially in this day and age of sexually transmitted infections (STIs), which is the main subject of the play.

3 This is one of the terms used by the youth as a euphemism for sexual intercourse. At the time it was very popular among students, hence its employment here.

4 See a discussion of a similar trend by Marisa Keuris (2004, p. 151).