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Articles

Issues Preventing the Fruition of South African Theatre for Young People (TYP)

Pages 37-49 | Published online: 25 Apr 2016
 

Abstract

This article examines some core issues blocking the fruition of Theatre for Young People (TYP) (age group 13–18) in South Africa and theorises TYP as performance of a specific kind. The difficulties in funding, the schooling system, a lack of concern within the theatre industry and specific audience needs are highlighted to emphasise the importance of this kind of theatre. Without collaboration between the different government departments, funding agencies, schools, arts festivals and theatre practitioners, sustainable age-specific TYP will remain a pipe dream.

Notes

1 Eugenio Barba, ‘The Essence of Theatre,’ The Drama Review 46.3 (2002): 15 <http://muse.jhu.edu/journals/the_drama_review/toc/tdr46.3.html> [accessed 29 April 2013].

2 Oxford Advanced Learner's Dictionary, 4th edn., ed. Anthony P. Cowie (Oxford University Press, 1992), 1488.

3 Australia Council, Review of Theatre for Young People in Australia (2003) <http://www.australiacouncil.gov.au/_data/assets/pdf_file/0004/34249/Report_-Review_of_TYP.pdf.> [accessed 30 April 2013].

4 Willmar Sauter, The Theatrical Event: Dynamics of Performance and Perception (Iowa City: University of Iowa Press, 2000), 197.

5 Jürgen Kirschner, ‘Clippings from the AAI: A Guided Tour to International Children's and Youth Theatre, Kinder- und Jungendtheaterzentrum in the Bundesrepublik Deutschland, submitted to ASSITEJ International Archives, Report 1996.

6 Theatre for Children and Young People: 50 years of Professional Theatre in the UK, ed. Stuart Bennet Chippenham: Antony Rowe, 2005), 244.

7 Sandra Jane Gattenhof, ‘Theatrical risking: performance innovation in Australian theatre for young people,’ International Theatre for Young Audiences Research Network, 9 May 2008, Adelaide <http://eprints.qut.edu.au/ /17807/> [accessed 9 June 2014].

8 From my doctoral thesis, ‘'n Kritiese ondersoek na die stand van Afrikaanse professionele Jeugteater in Suid-Afrika na 1994,’ Dissertation, University of the Free State, 2007, http://etd.uovs.ac.za/cgi-bin/ETD-browse/view_etd?URN=etd-06252008-132304. The English translation of the thesis is ‘A critical investigation into the position of Theatre for Youth Audiences in South Africa.’

9 My doctoral research on Theatre for Youth Audiences determined that the changing political situation after 1994 in South Africa, the White Paper on Arts, Culture and Heritage (1994), plus the disbanding of the Provincial Arts Councils had a negative influence on the development, staging and maintaining of new mainstream productions for youth theatre audiences. I have produced and directed a number of Children's, TYA and Professional mainstream productions locally and nationally.

10 Mike van Graan, Lecture, ‘No, Mrs Worthington, Don't put your daughter on the stage: The challenges of the SA Theatre Industry,’ University of the Third Age, Baxter Theatre, Cape Town, 22 February 2007 <http://www.mikevangraan.co.za/recent-articles-papers/no-mrs-worthington.pdf/view> [accessed 2 May 2007].

11 Pieter A. Venter, ‘Changing Paradigms in Youth Theatre in South Africa: views on theatre for young audiences in South Africa today,’ ASSITEJ World Congress and Performing Arts Festival, Copenhagen, 23–29 May 2011.

12 ‘Creative Industries Sector Report (CAJ) prepared for the HSRC,’ Department of Labour, 15 December 2007, 56. <https://www.labour.gov.za/downloads/documents/researchdocuments/Creative%20Industries_DoL_Report.pdf> [accessed 23 May 2013].

13 ‘Towards an understanding of the South-African theatre in industry, funding from the Royal Netherlands Embassy report,’ Performing Arts Network of South Africa (PANSA), 2005, 82.

14 Megan Sandberg-Zakian, ‘Real Theatre for Real Life: African Artists speak Out About Using Theatre to Make Change in Their Communities,’ TYA Today 22.1 (2008): 10 <http://www.kwikwap.co.za/acyta/docs> [accessed 6 April 2013].

15 Lenine Bourke and Mary Ann Hunter, Not Just an Audience: Young People Transforming Our Theatre (Sidney Myer Fund, 2011), 4.

16 David Wood, and Janet Grant, Theatre for Children: A Guide to Writing, Adapting, Directing, and Acting (Great Britain: Faber and Faber, 1999).

17 Lauren Gunderson, ‘How theatre for young people could save the world,’ The Huffington Post, 19 March 2012 <http://www.huffingtonpost.com/lauren-gunderson/world-theater-for-children-and-young-people-day_b_1343408.html> [accessed 6 April 2013].

18 Matiba Molefe, ‘ASSITEJ SA brings theatre to our youth,’ Play your part, 12 April 2013 <http://www.playyourpart.co.za/our-news-2/368-assitej-sa-awarded-executive-director-s-award> [accessed 29 April 2013].

19 Angela van Schalkwyk, Screen Africa, 21 July 2010 <http://www.screenafrica.com/news/archives_newsletter/Screen-Africa-News21july-2010.html> [accessed 6 April 2013].

20 ‘National youth policy,’ National Youth Commission, 9 December 1997 <http://www.polity.org.za/polity/govdocs/policy/intro.html> [accessed 30 June 2004].

21 S. P. F. Fredericks, ‘Funding for Arts and Culture in the New South Africa,’ Gauteng Department of Education, 2005, 1–3 <http://neumann.hec.ca/aimac2005/PDF_Text/Fredericks_Schalk.pdf> [accessed 2 May 2007].

22 Christina Kennedy, ‘Theatre can offer hope to SA’s children,’ Business day live March 2013, 30 April 2013 <http://www.bdlive.co.za/life/entertainment/2013/03/07/theatre-can-offer-hope-to-sas-children>.

23 CAJ 56, 57.

24 As part of my doctoral studies I did a TYA production that toured in the Free State and the Northern Cape province. We performed at twelve different schools. I received a Grant from the NAC of R 72,000 to do this project.

25 ‘Theatre and Musical Theatre: Funding Criteria,’ National Arts Council (NAC) <http://www.nac.org.za/> [accessed 6 April 2013].

26 ‘An arts sponsorship toolkit, Business and Arts South Africa, 2009 <http://www.basa.co.za> [accessed 24 October 2011].

27 ‘Supporting grant scheme guidelines,’ Business and Arts South Africa, 2009 <http://www.basa.co.za> [accessed 24 October 2011].

28 From a feasibility study that was commissioned by the ARTerial Network, Nicolette du Plessis, Khadija EL Bennaoui, and Luc Mayitoukou, ‘Towards an African fund for arts and culture,’ ARTerial Network, 2009 <http://www.arterialnetwork.org/uploads/2011/03/African_Fund_for_Arts_and_Culture_August_2009_FINAL_email_version.pdf> [accessed 15 May 2013].

29 ‘What organisations are funded,’ National Lotteries Board of South Africa, 2010 <http://www.nlb.org.za/applicants-and-beneficiaries/what-organisations-are-funded.html> [accessed 24 October 2011]. Fredericks 1–3.

30 Louis Pretorius, ‘An Analysis and Proposed Expansion of the Market for Theatre for Young People in the Western Cape,’ Dissertation, Stellenbosch University, 2008, 54–55.

31 Yvette Hardie, ‘Theatre for youth: Engaging the youth in theatre,’ Ubuntu magazine. 28 November 2012, 29 April 2013.

32 ‘Revised National Curriculum Statement for Grades R–9 (Schools),’ WCED online, 2002 <http://wced.pgwc.gov.za/ncs/grade9/gr9_ac.html> [accessed 16 May 2013].

33 ‘Curriculum and assessment Policy statement,’ Department of Basic education, 2011, 15. <http://www.education.gov.za/LinkClick.aspx?fileticket=Smibi3lrXl0%3d&tabid=672&mid=1885> [accessed 16 May 2013].

34 ‘Values, Education and Democracy—Report of the Working Group on Values in Education,’ South African Government Information, 9 May 2000. <http://www.info.gov.za/otherdocs/2000/education.htm> [accessed 23 May 2013].

35 Martin Lindstrom and Patricia B. Seybold, BRANDchild: Insights into the Minds of Today's Global Kids: Understanding Their Relationship with Brands (Kogan Page Limited: London, 2004), 47.

36 Max Van Maanen, in Theatrical Events: Borders, Dynamics, Frames, ed. Vicki Ann Cremona (New York: Rodopi, 2004).

37 Jacqueline E. Martin, Georgia K. Seffrin and Rodney C. Wissler, in Cremona 91–110.

38 Victor Turner, Dramas, Fields and Metaphors: Symbolic Action in Human Society (Tucson & London: University of Arizona Press, 1974).

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