Bollywood Twelfth Night: Steven Beresford's Production. Albery Theatre, London, September 2004: theatre review
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455629 , vital:75444 , https://hdl.handle.net/10520/EJC48040
- Description: BOLLYWOOD TWELFTH NIGHT : Steven Beresford's Production. Albery Theatre, London, September 2004. LAURENCE WRIGHT A Bollywood Shakespeare? Why not? Steven Beresford's directorial debut in West End theatre was pleasant rather than stunning, and one came away with a sense of the possibilities he had envisioned, more than those he had realized. The show opens with a tropical monsoon, sponsor of comedy's shipwreck. The setting is present-day India, a run-down street in a large city.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455629 , vital:75444 , https://hdl.handle.net/10520/EJC48040
- Description: BOLLYWOOD TWELFTH NIGHT : Steven Beresford's Production. Albery Theatre, London, September 2004. LAURENCE WRIGHT A Bollywood Shakespeare? Why not? Steven Beresford's directorial debut in West End theatre was pleasant rather than stunning, and one came away with a sense of the possibilities he had envisioned, more than those he had realized. The show opens with a tropical monsoon, sponsor of comedy's shipwreck. The setting is present-day India, a run-down street in a large city.
- Full Text:
- Date Issued: 2004
Hill of Fools: a South African Romeo and Juliet?
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7039 , http://hdl.handle.net/10962/d1007377 , http://hdl.handle.net/10520/EJC47866
- Description: preprint , What kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7039 , http://hdl.handle.net/10962/d1007377 , http://hdl.handle.net/10520/EJC47866
- Description: preprint , What kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind.
- Full Text:
- Date Issued: 2004
Hill of Fools: notes towards a publishing history
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7037 , http://hdl.handle.net/10962/d1007373 , http://hdl.handle.net/10520/EJC47868
- Description: preprint , Written in English in the early 70s, Hill of Fools was projected into the market for world literature among distinguished company in the Heinemann African Writers Series (HAWS), at a time when expectations for African writing in English reflected a certain orthodoxy; when the book’s origins in apartheid South Africa pressed certain ‘buttons’ in world readerships, and when the country’s increasing cultural isolation meant that even relatively well-versed literary Africanists were less than familiar with the milieu from which the story springs. The result has been that the novel acquired a rather odd penumbra of interpretation, ranging from the naïve to the dismissive or reductive.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7037 , http://hdl.handle.net/10962/d1007373 , http://hdl.handle.net/10520/EJC47868
- Description: preprint , Written in English in the early 70s, Hill of Fools was projected into the market for world literature among distinguished company in the Heinemann African Writers Series (HAWS), at a time when expectations for African writing in English reflected a certain orthodoxy; when the book’s origins in apartheid South Africa pressed certain ‘buttons’ in world readerships, and when the country’s increasing cultural isolation meant that even relatively well-versed literary Africanists were less than familiar with the milieu from which the story springs. The result has been that the novel acquired a rather odd penumbra of interpretation, ranging from the naïve to the dismissive or reductive.
- Full Text:
- Date Issued: 2004
Irony and transcendence on the Renaissance stage
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
Language and value: towards accepting a richer linguistic ecology for South Africa
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7042 , http://hdl.handle.net/10962/d1007383 , https://doi.org/10.1075/lplp.28.2.05wri
- Description: preprint , Language policy debate is often obscured by two factors: failure to acknowledge different time-frames attending contrasting positions, and failure to recognise that ordinary people are motivated by their perceived best interests in the present. This article argues that the key to more general public acceptance of linguistic ecological diversity in South Africa is to shift the emphasis from policy development to practical language cultivation issues. Provide the requisite cultivation support, and acceptance of a revitalised future for African languages becomes more assured. It should also be understood that the modernisation of African languages in South Africa has a political dimension concerning which South African language commentators are strangely silent. This political thrust may not be entirely congruent with the concerns of those whose brief for African languages is primarily cultural or ecological – if, indeed, they are even aware of it. Finally, it needs to be recognised that language development under conditions of controlled influence, as in the civil service or schooling, is potentially achievable (with whatever difficulty), but that this must be complemented by authentic contemporary intellectual work published in African languages if the linguistic dimension of the African Renaissance is to take off.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7042 , http://hdl.handle.net/10962/d1007383 , https://doi.org/10.1075/lplp.28.2.05wri
- Description: preprint , Language policy debate is often obscured by two factors: failure to acknowledge different time-frames attending contrasting positions, and failure to recognise that ordinary people are motivated by their perceived best interests in the present. This article argues that the key to more general public acceptance of linguistic ecological diversity in South Africa is to shift the emphasis from policy development to practical language cultivation issues. Provide the requisite cultivation support, and acceptance of a revitalised future for African languages becomes more assured. It should also be understood that the modernisation of African languages in South Africa has a political dimension concerning which South African language commentators are strangely silent. This political thrust may not be entirely congruent with the concerns of those whose brief for African languages is primarily cultural or ecological – if, indeed, they are even aware of it. Finally, it needs to be recognised that language development under conditions of controlled influence, as in the civil service or schooling, is potentially achievable (with whatever difficulty), but that this must be complemented by authentic contemporary intellectual work published in African languages if the linguistic dimension of the African Renaissance is to take off.
- Full Text:
- Date Issued: 2004
Politics, latent and overt, in Hill of Fools
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: Article
- Identifier: vital:7064 , http://hdl.handle.net/10962/d1007430
- Description: [From the text]: R. L. Peteni’s novel Hill of Fools (1976) is a work that benefits greatly when Collingwood’s maxim is observed. The author’s family history and the circumstances surrounding the book’s publication add a dimension of political and social meaning which its surface deliberately occludes. Perhaps more importantly, while the story can readily be enjoyed, the quality of sensibility behind the work is not readily accessed without understanding some of the socio-political background.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: Article
- Identifier: vital:7064 , http://hdl.handle.net/10962/d1007430
- Description: [From the text]: R. L. Peteni’s novel Hill of Fools (1976) is a work that benefits greatly when Collingwood’s maxim is observed. The author’s family history and the circumstances surrounding the book’s publication add a dimension of political and social meaning which its surface deliberately occludes. Perhaps more importantly, while the story can readily be enjoyed, the quality of sensibility behind the work is not readily accessed without understanding some of the socio-political background.
- Full Text:
- Date Issued: 2004
Shakespeare in South Africa: Alpha and ‘Omega’
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7029 , http://hdl.handle.net/10962/d1007216 , https://doi.org/10.1080/1368879042000210595
- Description: preprint , [Author's note]: This piece offers a discursive foray into some leading features of South African Shakespeare, framed between two symbolic ‘book-ends’: the first authenticated Shakespearean production which took place in Cape Town in 1801 (‘Alpha’), and a recent groundbreaking, multilingual version of Julius Caesar which premiered in 2001(“‘Omega’”). Focusing mainly on acts of translation, literal and cultural, the article follows a trajectory from colonial origins to explore some of the adaptive travail experienced by the Shakespeare text as it infiltrates, contests, melds into and sometimes illuminates a South African culture both potentially (and actually) very different from the colonial culture of, say, Australia or New Zealand. The article includes a brief prospectus for the future.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7029 , http://hdl.handle.net/10962/d1007216 , https://doi.org/10.1080/1368879042000210595
- Description: preprint , [Author's note]: This piece offers a discursive foray into some leading features of South African Shakespeare, framed between two symbolic ‘book-ends’: the first authenticated Shakespearean production which took place in Cape Town in 1801 (‘Alpha’), and a recent groundbreaking, multilingual version of Julius Caesar which premiered in 2001(“‘Omega’”). Focusing mainly on acts of translation, literal and cultural, the article follows a trajectory from colonial origins to explore some of the adaptive travail experienced by the Shakespeare text as it infiltrates, contests, melds into and sometimes illuminates a South African culture both potentially (and actually) very different from the colonial culture of, say, Australia or New Zealand. The article includes a brief prospectus for the future.
- Full Text:
- Date Issued: 2004
Shakespeare's Victorian Stage: performing history in the theatre of Charles Kean, Richard W. Schoch: book review
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7050 , http://hdl.handle.net/10962/d1007393 , http://hdl.handle.net/10520/EJC48030
- Description: preprint , This book is a primarily a study of Charles Kean’s productions of Shakespeare’s English chronicle plays at the Princess’s Theatre between 1852 and 1859, a period crucial to the development of ideas of English nationalism. Schoch focuses on these particular stagings as more than drama; as performances of nineteenth century theories of history and historical representation. His project operates under the aegis of the so-called ‘linguistic turn’ in cultural theory, and is suspicious of neo-marxian fundamentalism.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7050 , http://hdl.handle.net/10962/d1007393 , http://hdl.handle.net/10520/EJC48030
- Description: preprint , This book is a primarily a study of Charles Kean’s productions of Shakespeare’s English chronicle plays at the Princess’s Theatre between 1852 and 1859, a period crucial to the development of ideas of English nationalism. Schoch focuses on these particular stagings as more than drama; as performances of nineteenth century theories of history and historical representation. His project operates under the aegis of the so-called ‘linguistic turn’ in cultural theory, and is suspicious of neo-marxian fundamentalism.
- Full Text:
- Date Issued: 2004
The early reception of Hill of Fools
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7040 , http://hdl.handle.net/10962/d1007379 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , The early reception of Peteni’s novel is interesting because it illustrates the mind-sets and critical assumptions of those who first mediated the novel to different readerships. The book initially caused little stir either in South Africa or abroad, and it has made its way quietly in later years in no small part due to support from set-work prescription committees, and its translation into other media, radio and television. A one-off novel by an unknown writer is unlikely to gather critical momentum in international discussion, and the book has been more often noticed in academic studies focused on the Xhosa novel, some of which barely register that the work was first written in English. However, today it is certainly among the novels most widely-read by ordinary South Africans, not only those from the Eastern Cape, but for among many throughout the country who encountered it at school.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7040 , http://hdl.handle.net/10962/d1007379 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , The early reception of Peteni’s novel is interesting because it illustrates the mind-sets and critical assumptions of those who first mediated the novel to different readerships. The book initially caused little stir either in South Africa or abroad, and it has made its way quietly in later years in no small part due to support from set-work prescription committees, and its translation into other media, radio and television. A one-off novel by an unknown writer is unlikely to gather critical momentum in international discussion, and the book has been more often noticed in academic studies focused on the Xhosa novel, some of which barely register that the work was first written in English. However, today it is certainly among the novels most widely-read by ordinary South Africans, not only those from the Eastern Cape, but for among many throughout the country who encountered it at school.
- Full Text:
- Date Issued: 2004
The Marowitz Hamlet: Directed by Floyed de Vaal for the University of Stellenbosch Drama Department, July 2004: theatre review
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455820 , vital:75459 , https://hdl.handle.net/10520/EJC48041
- Description: THE MAROWITZ HAMLET : Directed by Floyed de Vaal for the University of Stellenbosch Drama Department. National Arts Festival, Grahamstown, July 2004. LAURENCE WRIGHT This was a brave and, on the whole, successful production of a difficult and highly cerebral text. The challenge of the play is to make it speak to a broad audience. Marowitz's experiments with Shakespeare in the 60s were conducted originally in small London theatres before some of the most sophisticated, literate audiences one could hope to find.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455820 , vital:75459 , https://hdl.handle.net/10520/EJC48041
- Description: THE MAROWITZ HAMLET : Directed by Floyed de Vaal for the University of Stellenbosch Drama Department. National Arts Festival, Grahamstown, July 2004. LAURENCE WRIGHT This was a brave and, on the whole, successful production of a difficult and highly cerebral text. The challenge of the play is to make it speak to a broad audience. Marowitz's experiments with Shakespeare in the 60s were conducted originally in small London theatres before some of the most sophisticated, literate audiences one could hope to find.
- Full Text:
- Date Issued: 2004
Twelfth Night: The Port Elizabeth Shakespearean Festival, February 2004: theatre review
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455928 , vital:75467 , https://hdl.handle.net/10520/EJC48043
- Description: TWELFTH NIGHT : The Port Elizabeth Shakespearean Festival. Mannville Open Air Theatre, 18 February 2004. LAURENCE WRIGHT Twelfth Night is one of the theatrical world's favourite Shakespeares. It is an ensemble piece with a plethora of rich, telling roles. Only eccentrics fail to respond. One of the most famous of these was Samuel Pepys, who saw the play at least three times and called it 'one of the weakest plays I ever saw on the stage'. He was wrong, and the Shakespeare Festival production at Mannville proves it once again.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455928 , vital:75467 , https://hdl.handle.net/10520/EJC48043
- Description: TWELFTH NIGHT : The Port Elizabeth Shakespearean Festival. Mannville Open Air Theatre, 18 February 2004. LAURENCE WRIGHT Twelfth Night is one of the theatrical world's favourite Shakespeares. It is an ensemble piece with a plethora of rich, telling roles. Only eccentrics fail to respond. One of the most famous of these was Samuel Pepys, who saw the play at least three times and called it 'one of the weakest plays I ever saw on the stage'. He was wrong, and the Shakespeare Festival production at Mannville proves it once again.
- Full Text:
- Date Issued: 2004
Umabatha: global and local
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7032 , http://hdl.handle.net/10962/d1007364 , https://doi.org/10.1080/00138390408691324
- Description: preprint , There can be few shows that test the dimensions and pitfalls of 'globalised' theatre as thoroughly as Welcome Msomi's Umabatha. The worldwide success of the show, in box-office terms, can hardly be argued with. And yet, in its very conception, the vehicle is so riven by intrinsic cultural, theatrical, class and 'nationist' tensions that different audiences cannot but reap utterly different experiences, depending on their own cultural and intellectual inheritance.The show is an instance where theatre practice (sometimes) obfuscates political and aesthetic discourse, showing how easily cultures miss each other and fail to connect, and how easily specific historical, geographical and imperial associations are swamped by shallow 'globalised' audience response.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7032 , http://hdl.handle.net/10962/d1007364 , https://doi.org/10.1080/00138390408691324
- Description: preprint , There can be few shows that test the dimensions and pitfalls of 'globalised' theatre as thoroughly as Welcome Msomi's Umabatha. The worldwide success of the show, in box-office terms, can hardly be argued with. And yet, in its very conception, the vehicle is so riven by intrinsic cultural, theatrical, class and 'nationist' tensions that different audiences cannot but reap utterly different experiences, depending on their own cultural and intellectual inheritance.The show is an instance where theatre practice (sometimes) obfuscates political and aesthetic discourse, showing how easily cultures miss each other and fail to connect, and how easily specific historical, geographical and imperial associations are swamped by shallow 'globalised' audience response.
- Full Text:
- Date Issued: 2004
Apartheid Shakespeare On Trial: Rohan Quince. Shakespeare in South Africa: Stage Productions during the Apartheid Era: article review
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455576 , vital:75440 , https://hdl.handle.net/10520/EJC48018
- Description: This is an important book for a number of reasons. First, it delineates a period of Shakespearean production in South Africa scarcely investigated. Secondly, the study takes trouble relating the productions under scrutiny to their socio-political milieu (not always successfully). And thirdly, it is written by someone who actively enjoys Shakespeare and the theatre.
- Full Text:
- Date Issued: 2003
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455576 , vital:75440 , https://hdl.handle.net/10520/EJC48018
- Description: This is an important book for a number of reasons. First, it delineates a period of Shakespearean production in South Africa scarcely investigated. Secondly, the study takes trouble relating the productions under scrutiny to their socio-political milieu (not always successfully). And thirdly, it is written by someone who actively enjoys Shakespeare and the theatre.
- Full Text:
- Date Issued: 2003
Introduction [to the book "Scatter the Shrilling Bones" by Sithembele Isaac Xhegwana]
- Authors: Wright, Laurence
- Date: 2003
- Language: English
- Type: text , article
- Identifier: vital:7056 , http://hdl.handle.net/10962/d1007417
- Description: preprint , Scatter the Shrilling Bones by Sithembele Xhegwana comprises an ordered sequence of poems that conveys a journey both literal and spiritual. Revisitation is the organizing principle of the collection – the return to rural sources and origins by a consciousness estranged and illumined by modernity (cf. ‘The Return’). Underlying the collection is the theme of the night journey, whose archetype in western culture is Odysseus’ descent to the underworld – a pattern identified as such in the concluding essay ‘Starting from my Place: Notes on an Aesthetic’. The underworld here is literally the return to the home territory – a journey from Cape Town to the rural Eastern Cape – but also a revisiting of the mental world of traditional Africa: ‘Here at home, here all guilt begins’ (‘Homecoming’). The return journey is haunted by nightmare memories of mental illness, the schizophrenic episodes accompanying (or occasioned by?) the poet’s initial encounters with modernity. This illness is represented as both pathological and cultural – a price paid for challenging and rejecting the old certainties while grappling with new assumptions: “He undermines the ancestors, That’s why he suffers. Let him.” (‘To Himself’)
- Full Text:
- Date Issued: 2003
- Authors: Wright, Laurence
- Date: 2003
- Language: English
- Type: text , article
- Identifier: vital:7056 , http://hdl.handle.net/10962/d1007417
- Description: preprint , Scatter the Shrilling Bones by Sithembele Xhegwana comprises an ordered sequence of poems that conveys a journey both literal and spiritual. Revisitation is the organizing principle of the collection – the return to rural sources and origins by a consciousness estranged and illumined by modernity (cf. ‘The Return’). Underlying the collection is the theme of the night journey, whose archetype in western culture is Odysseus’ descent to the underworld – a pattern identified as such in the concluding essay ‘Starting from my Place: Notes on an Aesthetic’. The underworld here is literally the return to the home territory – a journey from Cape Town to the rural Eastern Cape – but also a revisiting of the mental world of traditional Africa: ‘Here at home, here all guilt begins’ (‘Homecoming’). The return journey is haunted by nightmare memories of mental illness, the schizophrenic episodes accompanying (or occasioned by?) the poet’s initial encounters with modernity. This illness is represented as both pathological and cultural – a price paid for challenging and rejecting the old certainties while grappling with new assumptions: “He undermines the ancestors, That’s why he suffers. Let him.” (‘To Himself’)
- Full Text:
- Date Issued: 2003
Shakespeare in the Media: Newspaper Response to Shakespeare in Post-Independence West Bengal, 1948-97, Lipika Sidkar: book review
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455757 , vital:75454 , https://hdl.handle.net/10520/EJC48012
- Description: Reading this book is a cultural experience in itself, from the typography and layout, to the scholarly conventions observed, the treatment of the subject matter and its arrangement. I found it fascinating, perhaps exaggeratedly so because of abysmal ignorance on my part concerning the voluminous scholarly and text-book literature on Shakespeare which has streamed from the presses of the sub-continent.
- Full Text:
- Date Issued: 2003
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455757 , vital:75454 , https://hdl.handle.net/10520/EJC48012
- Description: Reading this book is a cultural experience in itself, from the typography and layout, to the scholarly conventions observed, the treatment of the subject matter and its arrangement. I found it fascinating, perhaps exaggeratedly so because of abysmal ignorance on my part concerning the voluminous scholarly and text-book literature on Shakespeare which has streamed from the presses of the sub-continent.
- Full Text:
- Date Issued: 2003
'Taking language issues to the people': language development in context.
- Authors: Wright, Laurence
- Date: 2002
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/${Handle} , vital:77243 , https://doi.org/10.2989/16073610209486320
- Description: This paper represents a prologue to a taxonomy of participatory language development strategies, one which argues that some re-orientation of thinking about Language Planning is needed for South Africa's linguistic 'renaissance' to make progress. The immediate institutional argument is for the creation of modestly equipped and staffed Language Development Centres easily accessible to the speech communities responsible for the maintenance and development of their languages, particularly the nine official PMLs (Previously Marginalised Languages), but also the dialects. The paper sets out to suggest why such centres may be necessary if we are serious about creating conditions in which the PMLs can be successfully developed without thoughtlessly damaging South Africa's linguistic diversity.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/${Handle} , vital:77243 , https://doi.org/10.2989/16073610209486320
- Description: This paper represents a prologue to a taxonomy of participatory language development strategies, one which argues that some re-orientation of thinking about Language Planning is needed for South Africa's linguistic 'renaissance' to make progress. The immediate institutional argument is for the creation of modestly equipped and staffed Language Development Centres easily accessible to the speech communities responsible for the maintenance and development of their languages, particularly the nine official PMLs (Previously Marginalised Languages), but also the dialects. The paper sets out to suggest why such centres may be necessary if we are serious about creating conditions in which the PMLs can be successfully developed without thoughtlessly damaging South Africa's linguistic diversity.
- Full Text:
- Date Issued: 2002
Can formal language planning link to grassroots cultural initiatives?: an informal investigation
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: Article
- Identifier: vital:7041 , http://hdl.handle.net/10962/d1007381
- Description: Formal language planning is inevitably a top-down, highly technical process. Success for such planning would seem to depend on engaging productively with existing or readily developed social motivation within the society. This article reports on an informal investigation into how ordinary language practitioners and cultural workers in South Africa view the possibilities of contributing to the country’s emerging language dispensation, what they regard as their most useful possible contributions, and what they expect from the language planners and ‘government’ in support of South Africa’s Language Policy and Plan.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: Article
- Identifier: vital:7041 , http://hdl.handle.net/10962/d1007381
- Description: Formal language planning is inevitably a top-down, highly technical process. Success for such planning would seem to depend on engaging productively with existing or readily developed social motivation within the society. This article reports on an informal investigation into how ordinary language practitioners and cultural workers in South Africa view the possibilities of contributing to the country’s emerging language dispensation, what they regard as their most useful possible contributions, and what they expect from the language planners and ‘government’ in support of South Africa’s Language Policy and Plan.
- Full Text:
- Date Issued: 2002
Language as a ‘resource’ in South Africa: the economic life of language in a globalising society
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: text , article
- Identifier: vital:7035 , http://hdl.handle.net/10962/d1007370 , https://doi.org/10.1080/10131750285310031
- Description: preprint , We need to develop a much more refined and specific understanding of what is meant when people refer to language is a ‘resource’. If something can accurately be described as a resource, then by its very nature it carries with it or attracts, at least in potential, the social motivation associated with the utilization, development or exploitation of that resource. This is strikingly true where language is the resource in question, because language is so intimately bound up with human activity. Where it exists, such social motivation can be augmented and supported so as to realize the ends of language policy. Contrastingly, where it is seen that social motivation informing a particular language situation is at odds with the intent of language policy, then either implementation must retreat and move to other arenas, other points of influence, where intervention can be more effective, or those charged with implementation must resign themselves to costly and messy efforts to force unwanted change through legal authority.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: text , article
- Identifier: vital:7035 , http://hdl.handle.net/10962/d1007370 , https://doi.org/10.1080/10131750285310031
- Description: preprint , We need to develop a much more refined and specific understanding of what is meant when people refer to language is a ‘resource’. If something can accurately be described as a resource, then by its very nature it carries with it or attracts, at least in potential, the social motivation associated with the utilization, development or exploitation of that resource. This is strikingly true where language is the resource in question, because language is so intimately bound up with human activity. Where it exists, such social motivation can be augmented and supported so as to realize the ends of language policy. Contrastingly, where it is seen that social motivation informing a particular language situation is at odds with the intent of language policy, then either implementation must retreat and move to other arenas, other points of influence, where intervention can be more effective, or those charged with implementation must resign themselves to costly and messy efforts to force unwanted change through legal authority.
- Full Text:
- Date Issued: 2002
Ariel in Africa: Leslie French and the Port Elizabeth Shakespearean Festival
- Mann, Bruce, Wright, Laurence
- Authors: Mann, Bruce , Wright, Laurence
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455588 , vital:75441 , https://hdl.handle.net/10520/AJA1011582X_168
- Description: The Port Elizabeth Shakespearean Festival has good reason to remember the 23'd April. Quite apart from its being the official birthday of Shakespeare and St. George (after whom the park was named in which Mannville, the company's open air theatre, stands today), the 23'd April 1904 was the birthday of Leslie French, doyen of classical theatre in South Africa in the last century, whose productions established and consolidated open-air theatre in Port Elizabeth. He had a varied and successful career in the performing arts well before his association with South African theatre began. A gifted boy singer, his first appearance was in London at the Little Theatre, December 141", 1914, while he was still a chorister at the London College of Choristers. In the next four years he appeared regularly with Jean Sterling Machinlay and Harcourt Williams at the Margaret Morris Theatre, as a soloist at many important London churches (including St. Margaret's, Westminster Abbey and St. Paul's Cathedral), as well as singing at the Royal Albert Hall and the Queen's Hall in the Chapel Ballad Concerts.
- Full Text:
- Date Issued: 2001
- Authors: Mann, Bruce , Wright, Laurence
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455588 , vital:75441 , https://hdl.handle.net/10520/AJA1011582X_168
- Description: The Port Elizabeth Shakespearean Festival has good reason to remember the 23'd April. Quite apart from its being the official birthday of Shakespeare and St. George (after whom the park was named in which Mannville, the company's open air theatre, stands today), the 23'd April 1904 was the birthday of Leslie French, doyen of classical theatre in South Africa in the last century, whose productions established and consolidated open-air theatre in Port Elizabeth. He had a varied and successful career in the performing arts well before his association with South African theatre began. A gifted boy singer, his first appearance was in London at the Little Theatre, December 141", 1914, while he was still a chorister at the London College of Choristers. In the next four years he appeared regularly with Jean Sterling Machinlay and Harcourt Williams at the Margaret Morris Theatre, as a soloist at many important London churches (including St. Margaret's, Westminster Abbey and St. Paul's Cathedral), as well as singing at the Royal Albert Hall and the Queen's Hall in the Chapel Ballad Concerts.
- Full Text:
- Date Issued: 2001
Confronting the African nightmare: Yael Farber’s SeZaR (theatre review)
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001