ABSTRACT
Stephens uses Shakespeare to address societal problems. Teaching William Shakespeare's Romeo and Juliet's relevance to struggling readers is challenging. Like Kelly Gallagher's argument that struggling writers do not do enough writing, she thinks struggling readers suffer from similar failures: teachers do not do enough reading with students. Like Gallagher, she believes it is best to focus on what teachers can control. So, when she was required to teach Shakespeare's Romeo and Juliet to her ninth graders last year, she paused to reflect on undertaking this task with struggling readers while making the text accessible and meaningful. Here she describes her attempt to meet this task.
ABSTRACT
Digital theatre-making initiatives that had emerged during Covid-19 lockdowns urged an interrogation of the languages of live theatre when, in South Africa, as the public arena reopened and social interaction resumed, reconfigured notions of theatre-making seemed apt. Reformulating and reimagining the operations of the medium, and the processes through which stage productions evolve, not only applied aspects of successful digital theatre but also aligned with the ideological imperatives of decolonisation. The Joburg Theatre Youth Development Programme production of Macbeth (2021) offered an opportunity to explore soundscape through the interplay of spoken word and non-semantic avian and animal calls. As a point of entry to staging the play, ensemble-based improvisation around developing a soundscape led to a more considered mapping of ornithological images, their connotations and theatrical efficacy. Extended play in generating birdcalls was instrumental in building performers' confidence in transposition and spontaneous translation from English to vernacular languages to give this rendition of Macbeth an edgy, contemporary, local tone. This article documents and addresses the rehearsal processes and some outcomes of the approach that was adopted.
ABSTRACT
Shakespeare has always been the source of inspiration to the generations all over the world stage. Toufann by Dev Virahsawmy is one such piece of clone. The world has taken a drastic turn in the 21st century. Digitalisation is the only normal in abnormality of the millennials with the upsurge of 'technology' as the 'spear' of Shakespeare and 'network' a 'villain' as Prospero creating 'magic' and 'illusion' in our lives. 'Virtual' has become 'real' and real has taken a backseat in the heaven called 'home'. In this techno-savvy, digital, virtual world;it is imperative for the 'Humanities' to adapt the new normal. Toufann is one such child of this techno-renaissance playwright Dev Virahsawmy, a Mauritian playwright creating a 'tempest' by virtual slides on computer.Caliban is no more looked as black, beast, filthy or low born;he is a smart, handsome, creative, technical man with a heart already lost to Cupid's bow. Miranda is a feminist;reading Simone de Beauvoir's The Second Sex pregnant with Kalibann's child. Ariel is a Robot;now emotionless, mechanical and artificial. Ferdinand is infertile, fickle minded and wants the companionship of Robot Ariel. The present paper will discuss the techno aspect of the play in detail with the tinge of focus on the turns of events in the neo-millennials.
ABSTRACT
Load shedding (power cuts) in our corner of Pretoria coincided with the performance, so the laptop had to run on its own steam while internet access was channelled through a smartphone hotspot (the signal of which had proved unstable in the past but on this occasion held up bravely). Plans for Hamlet at The Fugard were then already under way;the play text became a frequent point of reference during the workshop sessions, and the three-day event closed with a roundtable discussion on the Fugards proposed production. In the blurb beneath the video link, Coppen paid homage to the support that the project received from Fugard Artistic Director Greg Karvellas and his team, as well as to the theatre's founder and benefactor, Eric Abraham. The online experience is defined by the physical separation of audience members and actors: the performance takes place in a makeshift, inbetween virtual world of its own.