MIS. Reza de Wet. IN GENERAL: All three of the dramas in Trits reflect a search for an inner conciliation between rational and irrational, as well as the masculine . Reza De Wet book. Read 3 reviews from the world's largest community for readers. The three plays Missing, Crossing and Miracle are folkloric and ostensib . Drif. Series Title: Maskew Miller Longman literêr. Other Titles: Mis. Mirakel. Drif. Responsibility: Reza de Wet ; aantekeninge en aktiwiteite deur Ronél Gouws.
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Verskillende Betekenisse Van MIS Reza de Wet Mis February 7th, - Opsomming Van Mis Die Drama Library Download Book PDF and. intrede van die vroulike dramaturg, Reza de Wet, se unieke dramatiese oeuvre. .. vir Trits: Mis, Mirakel, Drif, en in vir Drie susters twee selfs vereer. de Wet: Plays One: "Missing", "Crossing",. "Miracle" (Oberon Books). Reza de Wet. Click here if your download doesn"t start automatically.
Right from the beginning of what had become a sustained and prolific career, she proved to be able to unnerve and amuse in equal measure while tapping into a dark and richly subversive vein, mining both gold and puss from a festering Afrikaner psyche.
South Africa in the s was a very different place from the country of today. Black schoolchildren were marching in the streets, protesting against a repressive system of Apartheid and a second rate education in Afrikaans then called 'the Language of the Oppressor'.
The police were shooting at these children. Young white men, on the other hand, were expected to pass into manhood and citizenship by a two-year rite of passage fighting a senseless and indefensible terrorist war on our borders.
Mothers organised knitting circles to make socks for their sons and sent Christmas-parcels that invariably contained rusks and a Bible to a mysterious 'front' somewhere up north.
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The State-controlled radio and television quite successfully fed us a sanitised version of the truth and from the pulpits of the Dutch Reformed Church religious leaders extolled the Nationalists' version of 'loving thy neighbour as thyself' in the comforting guise of 'separate but equal'.
And apart from the occasional bump up against reality, many whites could still pretend that the world they lived in was relatively safe, sound and perhaps even moral. Censorship was the order of the day.
In , one of the great Afrikaans playwrights, Bartho Smit , had effectively been silenced and the work of another important playwright, Pieter Fourie, was constantly being emasculated. For a time, he was reduced to writing farces.
From this debut it was immediately clear that a major new voice had announced itself. African Gothic Diepe Grond, understandably sparked off intense debate. With one perverse and masterly gesture Reza de Wet killed off the parents who built the world we grew up in and made the lovers doomed to re-enact key incidents from their childhood to pass the time.
A mainly silent black nanny, who has become both mother and God, watches with great love as her former employer's children self-destruct. Even the order of day and night are reversed. Frikkie and Soekie go to sleep at sunrise and rise at sunset to start their work. Where crops used to grow from neatly ploughed furrows, the farm now lies fallow as they burrow through the floor of their room in a futile attempt to strike a source of life-giving water.
Here was a play that clearly overturned every single rule and moral principle that upheld society and were accepted as the norm by the very people that set up the Campus Festival, a new type of Afrikaner. But it would be simplistic to view these plays by Reza de Wet as mere Chekhov sequels.
This is only a guise. For de Wet, the plays have been an investigation into the way Chekhov envisaged theatre, and a grappling with the process of transformation.
After the couple had moved to Grahamstown, she occasionally performed again, including roles in Diepe Grond , In a Different Light , The Unspeakable Story Her final appearance on stage came in when she was cast in Die See , directed by her husband, Lindsay Reardon.
She thrice appeared in plays on video and audio clips: in Drifte , in Verleiding and, posthumously, in Drifting As director As director De Wet did a number of productions over the years, many of them for the Rhodes University Drama Department while a lecturer there. She also directed a few of her own plays, such as Concealment for the department. Her final directing contribution at Rhodes being Heathcliff Goes Home An interesting case was her own play On the Lake in , which she directed for the Company, while the Company did its own physical theatre version of it under the title lake The two versions ran back to back at National Arts Festival that year.
As playwright Fascinated with theatre and performance from her pre-school days, she wrote some early work in English, notably her first play, Heathcliff and the Dancing Bear.
This led to a steady stream of highly rated plays, in a distinctive neo-Gothic style of her own what some refer to as " Afrikaner Gothic".
Having been raised bilingually and trained in both Afrikaans and English, De Wet went on to write at least 26 plays in both languages over the course of 30 years. Some of these have also been translated into other languages.
Reza De Wet: Plays One
De Wet's writing was rather enigmatic in its time, a-political, complex and intensely human works in a time of political turmoil and committed writing which favoured the politically explicit. Each play displays a strong sense of time and place, but is usually set in an earlier time and providing a reflection on the complex issues of being a woman in search of freedom and self-expression in a male-dominated society.
In view of their complexity and relevance, it is not surprising that a large number of academic studies of her works have been undertaken over the past 25 years see the ESAT Bibliography for example.
In view of her background and interests, De Wet's work tends to evince a strong literary bias, the structural and stylistic influences on the plays coming from the range of her reading as well as her training in theatre, but the actual theatrical form used by De Wet is more often than not based on the specific type of theatrical realism  developed by the core models she acquired as a student of drama: Anton Chekhov and Antonin Stanislavsky perhaps being the most dominant and exciting examples.
Tellingly, this was also the chosen form of most of her Afrikaans models.
Trits : drama en aantekeninge
These formal aspects become even clearer when one considers the content of the plays, likewise inspired by her eclectic reading, which tended towards grotesque fantasy, Gothic and Victorian literature, the tales of the Brothers Grimm and ultimately magic realism.
Her plays therefore have somewhat surreal, almost Gothic, feel at times, with the themes often expressed through a range of additional non-realist techniques, such as games, rituals, re-enactment of the past, and role-switching by the performers.
Fagan , C.
Her exposure to the work of Gary Gordon and the First Physical Theatre Company clearly also had an influence on the style of some of her later work. Other forms of influence derive from De Wet's close working relations with her publishers e.For de Wet, the plays have been an investigation into the way Chekhov envisaged theatre, and a grappling with the process of transformation.
Trits: Mis, Mirakel, Drif (Afrikaans, Paperback)
To address these challenges, we describe the Vertebrate Alternative Splicing and Transcription Database VastDB , the largest resource of genome-wide, quantitative profiles of AS events assembled to date. In view of her background and interests, De Wet's work tends to evince a strong literary bias, the structural and stylistic influences on the plays coming from the range of her reading as well as her training in theatre, but the actual theatrical form used by De Wet is more often than not based on the specific type of theatrical realism  developed by the core models she acquired as a student of drama: Anton Chekhov and Antonin Stanislavsky perhaps being the most dominant and exciting examples.
She has won more theatre and literary awards than any other South African playwright, including the prestigious Herzog Prize for drama , the highest honour in Afrikaans literature. Directed by Gabriel Bologna, the film sees Damon Shalit and Chella Ferrow in the lead roles — both were born in South Africa, but have established acting careers in America.
Want to Read saving…. In , one of the great Afrikaans playwrights, Bartho Smit , had effectively been silenced and the work of another important playwright, Pieter Fourie, was constantly being emasculated.
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