Sounding the Polyphonic Cacophony of Macbeth with a Young Jozi Ensemble.
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 t...
| Publicado en: | Shakespeare in Southern Africa Vol. 35; pp. 4 - 19 |
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| Formato: | Artículo |
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Institute for the Study of English in Africa
2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=163494997&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 163494997 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 1011582X SHK jtl: Shakespeare in Southern Africa issn: 1011582X maglogo: N pubinfo: dt: 2022 vid: 35 pid: 1771 pub: Institute for the Study of English in Africa artinfo: ui: 163494997 10.4314/sisa.v35i1.2 ppf: 4 ppct: 15 formats: fmt: @attributes: type: P size: 3.7MB tig: atl: Sounding the Polyphonic Cacophony of Macbeth with a Young Jozi Ensemble. aug: au: ROBERTS, SARAH affil: Associate Professor in the Division of Theatre and Performance in the Wits School of Arts (University of the Witwatersrand). su: Macbeth (Theatrical production) COVID-19 pandemic Social interaction Stage adaptations Musical groups sug: subj: Macbeth (Theatrical production) COVID-19 pandemic Social interaction Stage adaptations Musical groups ab: 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. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Shakespeare in Southern Africa is the property of Institute for the Study of English in Africa and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Shakespeare in Southern Africa holder: Institute for the Study of English in Africa dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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