A proposed model for theatre-for-development in South Africa: a critical study

[摘要] English: The research for this dissertation was undertaken against the backdrop ofprevailing conditions in South Africa. References were made to the socio-politicaland economic context of post-apartheid South Africa. The study set out toestablish reasons why theatre-for-development is not used in the South Africancontext and to formulate an integrated model for its use that is derived fromsuccessful international examples and methodologies.The background to development was provided by referring to differentdevelopment paradigms: the modernisation paradigm, Marxism and neo-Marxism,and nee-populism, the basic needs approach, eco-development and human scaledevelopment as alternative methods for development. A definition of the concept 'development' was provided and the principles andconcerns of development were pointed out. A conceptual framework of 'culture'was provided with specific reference to the relationships between culture, ritualand tradition. The aims and uses of theatre were pointed out and reasons wereprovided for its use in educational and development contexts.The history of theatre-for-development was provided and the use of theatre foreducation and development was elaborated on by referring to the work of AugustoBoaI. His concept of 'theatre of the oppressed' is of importance, and includesforum, invisible, image, culture, newspaper and legislative theatre.Examples were provided of the use of theatre in educational and developmentcontexts in countries of the developing world. Specific characteristics of thesetheatre initiatives were identified that directly contributed to the formulation of theproposed model. Theatre-for-development was seen as a multidimensional phenomenon. Thecontext in which creation takes place was considered in terms of the currentsocio-political context in South Africa, referring to basic needs; current problemsin training and education; and attempts at reconstruction and development. Theinformal economic and the unofficial cultural contexts were considered. The historical legacies of the past and their impact on cultural development werepointed out.The collective and improvisational manner in which theatre-far-development iscreated and the functioning of its processes in practice were explained.The aims and functions of theatre-far-development were identified as functionality;analysis and criticism; mobilisation and conscientisation; inclusivity; educational;empowerment; and the creation of a sense of community. The characteristics ofperformances that are created as part of theatre-for-development processes wereprovided. Reference was made to theatre-for-development's multilingualism, thestereotypical characterisation that is often employed in performances, thecollective and plurimedial style that is applied, as well as the use of oral andindigenous performance forms. The localised, unconventional and informal context within which theatre-fordevelopmenttakes place, was explained as one of its strengths.Audience involvement was typified as an aspect of theatre-far-development, andactive involvement was contrasted to passive appreciation, and affective reactionto cognitive reaction.The effects of criticism and censorship were considered with specific reference toconventional canonised criticism and contextual criticism. In this regard, therecipient of the message was focused on by juxtaposing process against outcomeorientation, and performance against literary orientation. The immediacy withwhich recipients evaluate the performance and the democratic collective as partof the process of appraisal were also touched upon. The dimensions of theatrefor-development were also considered in the light of the necessity to formulateeffective criteria to measure the outcomes of theatre-for-development. The dissertation provided a practical model for the use of theatre-far-developmentby focusing on the places where development occurs, and the contribution ofdistrict-based fieldworkers as facilitators for development projects andpractitioners of theatre-far-development. A methodology for the application oftheatre-far-development techniques was proposed and potential problems in theimplementation of such a model were identified. Concluding remarks included a summary of the research findings, conclusionsdrawn from the information contained in the dissertation, as well as theidentification of areas for future research.

[发布机构] University of the Free State