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DSWA Nr. 20 o (ee7172 ) siehe scan Sabinet | Taferele, tableaux vivants, tablo&apos;s en die vroeë Afrikaanse drama (1850-1950) : geesteswetenskappe
oa Litnet Akademies : &apos;n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Taferele, tableaux vivants, tablo&apos;s en die vroeë Afrikaanse drama (1850-1950) : geesteswetenskappe
p. 744 - 765
Keyword(s) : Tableau, Tableau vivant, Tablo, Tafereel, Teatergeskiedenis and Theatre history
Abstract HTML Metrics Related Content Abstract In hierdie artikel word aan die hand van verskeie teaterhistoriese bronne nagegaan in watter mate die tafereel, tableau vivant en ander vorme van die tablo neerslag gevind het in die vroeë Afrikaanse drama (1850-1950). Aangesien die ontstaansgeskiedenis van die vroeë Afrikaanse drama en teater ten nouste gebonde is aan die vestiging daarvan deur rederykerskamers (veral Aurora) aan die Kaap, is hierdie konvensie ook nagevolg binne hierdie konteks. Aangesien die tafereel so &apos;n lang geskiedenis het en reeds voorkom in die heel vroegste vorme van drama en teater (veral in die sogenaamde prosessieteater) moes daar ook met &apos;n wyer historiese blik na hierdie konvensie gekyk word. Die tafereel se verbintenis met die tableau vivant, asook met andere vorme van die tablo is nagevolg. Alhoewel daar in die Suid-Afrikaanse teaterhistoriese bronne min direkte verwysings na hierdie konvensie is, sou mens wel kon aflei dat die algemene voorkoms en gewildheid van hierdie konvensie (veral in die vorm van die tableau vivant) in 19de-eeuse Westerse drama en teater die Suid-Afrikaanse toneel moes beïnvloed het. So &apos;n siening word ondersteun deur die feit dat verskeie teatergeselskappe via die Kaap na die Ooste (onder ander Indonesië) en Australië gereis het waar hierdie konvensie ook gedurende hierdie tydperk algemeen gevind word. Binne die Suid-Afrikaanse konteks verwys ek kortliks na twee voorbeelde, naamlik die gebruik van die tafereel in S.J. du Toit se Magrita Prinslo (1896) en die voorbeeld van &apos;n tableau vivant in Jan F. Celliers se Heldinne van die oorlog (1913). Die onderskeid wat Meisel (1983) maak tussen tableau vivant, dramatiese tablo&apos;s (veral algemeen gebruik in die melodrama) en ander tablo&apos;s (veral historiese tablo&apos;s soos te vinde in kultuurfeeste soos die "Pageant of the Union of South Africa" in 1910, asook die Groot Trek se herdenking en inwyding van die Voortrekkermonument in 1949), word ook in hierdie artikel nagevolg.
Taferele, tableaux vivants, tableau and the early Afrikaans drama (1850-1950)
The focus of this article is to try and determine how the tafereel, tableau vivant and other forms of the tableau can be traced in early Afrikaans drama (1850-1950). The main theoretical framework of this study is, therefore, a theatre historical approach. Since the history of the early Afrikaans drama and theatre is closely bound up with the establishment of theatre in the Cape through the endeavours of the rhetoricians&apos; chambers (especially Aurora), this convention was also traced within this context. Since the tafereel/tablo convention has such a long theatrical history and can be found within the earliest forms of drama and theatre (especially in the so-called procession theatre) I also had to place this convention within its wider historical context. The tafereel is often also linked to the tableau vivant, as well as to other forms of the tableau, and the popularity of the tableau vivant in the 19th century - especially in Western theatre - is also given in a few localised short discussions (New York, Indonesia).
The article starts with a short introductory discussion where I list the most important early South African theatre historians (Bosman, Binge, Laidler, Racster, Fletcher), as well as the work by Stassen and Koch, where the important link between early Afrikaans drama and theatre and Dutch theatre (especially the role played by Aurora) is highlighted. Characteristic of the origin and development of the early Dutch and Flemish rhetorician chambers was the establishment of amateur theatre in these chambers (Brandt) - a situation also found in the Cape. Brandt differentiates between the early development and flowering of these guilds in the 15th to 17th centuries in these countries and their later revival in the 19th century - albeit with specific changes. The influence in South Africa would, therefore, rather be from the perspective of the 19th-century rhetoricians than from their earlier counterparts (as also indicated by Stassen and Koch). It is, however, interesting to note that the theatre convention discussed in this article, namely the tafereel (also known in its older, more Dutch form as the toog) can be found in plays of both the early and later rhetorician chambers.
Litnet Persistent Link : http://hdl.handle.net/10520/EJC125882