The scope of this study will cover twenty one-act radio plays written by Ntuli from 1965 to 2000. We will also use tape recordings of one-act radio plays broadcast by Ukhozi FM in recent years.
APPROACHES TO BE USED IN THIS STUDY
THE STRUCTURAL APPROACH
Therefore, it is this straightforward nature of the structural approach that makes it a favorite among many critics. The structural approach highlights the essential elements of the play such as plot, characterization, style, etc. in the study of drama and looks at how these aspects are applied by the author to create a literary work.
THE SEMIOTIC APPROACH -
Meaning and communication are therefore the two processes in the semiotic approach to the study of drama. The structure of the addressee and the addressee underlies the semiotic approach to the study of drama, in which the effectiveness of communicative exercises is critical.
DEFINITION OF KEY TERMS
SYMBOLISM
- INTERNATIONAL OR TRADITIONAL SYMBOLISM
- NATIONAL OR LOCAL SYMBOLISM
- PERSONAL SYMBOLS
Ntuli uses this to symbolize the hope and dreams of the characters in Isomiso. Ntuli also uses weather conditions to symbolize the problems and difficult experiences of the characters in a play.
THE ONE-ACT RADIO PLAY
Considering the above definitions, therefore, we can define the one-act radio play as a short play performed by sound alone. The one-act radio play may contain scenes separated from each other because of what takes place at different times, even though the place is the same;
BIOGRAPIDCAL DETAILS OF D.B.Z NTULI
Shortly after joining the radio station, he wrote his first one-act radio play: Ingodosi Kadukta. Ntuli has been entertaining listeners for over thirty-five years with his one-act radio shows.
CONCLUSION
As we noted earlier, Ntuli's one-act radio plays have also been adapted into book form. The impressive number of his contribution to various jewels and the awards won by his works bear irrefutable testimony to the mighty pen of this illustrious writer.
INTRODUCTION
There has also been a remarkable improvement in the themes addressed by playwrights in isiZulu. In recent years there has also been a dramatic increase in the number of female playwrights.
THE NATURE AND CHARACTERISTICS OF RADIO DRAMA
Radio drama is easily accessible to the listener and can be enjoyed while bathing, cooking or even driving. Unlike the visual dramas, the radio drama gives the listener more freedom of choice.
TECHNICAL TOOLS USED IN RADIO DRAMA
- THE MICROPHONE
- THE 'OFF MIKE' POSmON
- SOUND EFFECTS
- MUSIC
- THE NARRATOR
- SILENCE
In the play, an echo of the character's voice is used to indicate this. Ntuli uses sound effects to draw the listener's attention to the symbolic aspects of the play.
CONCLUSION
We will see how different scholars define this concept and how important it is to other aspects or parts of the show. Locale refers to where the events of the play take place, for example, in a rural area such as Mahlabathi. Character action and dialogue can also be used by the playwright to show the setting.
For example, the characters' dialogue may contain slang or Tsotsi language to indicate a township setting.
TYPES OF SETIING
PHYSICAUGEOGRAPIDCAL SETIING
In most of Ntuli's plays, the name of the place where the action takes place is not mentioned. We assume that Ntuli wants to illustrate that the events of the play can take place in any township. For example, in Isipho SikaKhisimuzi and Umshumayeli, the listener is not in a position to know the exact location of the piece.
Ntuli uses bad weather conditions to symbolize problems and turmoil in the lives of the characters in the play.
TEMPORAL SETTING
- SYMBOLIC FEATURES OF TEMPORAL SEITING
This happens when the events of the .~ display do not necessarily depend on a certain time of day. Ntuli also uses the title of the play to indicate time as the setting of the play. He knows that different times and events of the year affect the listener's response to the show.
Sunrise, for example, uses Ntuli to symbolize the rise of hope for the characters in the play.
SOCIAL SE1TING
Ntuli also uses settings that depict upheavals in the lives of the characters and society as a whole. Social conditions of the characters are often relevant to the events that take place in the play. His criminal exploits therefore interfere with the peaceful way of life of the characters in the play.
However, it is the most important element of drama because it gives context to the events of the play.
INTRODUCTION
THEME DEFINED
A second way in which theme can be defined is to describe it as a statement about the life that is implicit in the action of the play. In our analysis of Ntuli's one-act radio plays, we will adopt the definition of theme as the theme of the play and a statement that the playwright puts forward in the play. What becomes apparent in dealing with the theme is that it is a very difficult task to point out the theme of the show and there is no set method for doing so.
Most importantly, we illustrate the symbolic aspects of the themes Ntuli chooses and how they reinforce the message of the play.
TECHNIQUES OF THEME DELINEATION
On the other hand, however, the use of the title to suggest the theme can have a devastating effect on the listeners' response and attitude towards the piece. In some cases, if the title reveals the theme, the plot of the play becomes predictable, thus discouraging listeners from listening further. In NginguMenziwl! listeners can easily predict that the core of the piece will be revenge as a theme.
In this context, an individual listener reaches his or her own conclusion about the subject of the play without the playwright imposing his views and attitudes.
THEMATIC DISTRIBUTION
- WITCHCRAFT
- CHEATING
- REVENGE
- MARRIAGE
- PAST OFFENCES
This is evident in the happy endings that predominate in most plays that have unemployment as their theme. The statement Ntuli makes in this piece is that it does not pay to defy the will of the masses and resist political change. Xulu confesses that Mabonwabulawe is the name of the person he killed many years ago.
In this play we find members of the society engaged in the heinous act of selling and buying examination papers.
CONCLUSION
We are particularly interested in Makosana's definition because we feel that the role of the characters in the play goes beyond conveying the theme and plot through dialogue and action. The listeners must be drawn by the characters to the play and make them eager to know the outcome of the play. Characters in the play have a crucial role in portraying the plot and theme created by the playwright.
The flat character is the type that does not undergo any noticeable change throughout the play, no matter what direction the events of the play take.
SYMBOLIC ROLE OF CHARACTERS
NUMBER OF CHARACTERS
In addition to making it easy for listeners to recognize the voices, we believe that characters should be few in number to reduce the number of events and scenes in the play. Ntuli seems to take the number of characters in the game seriously and carefully. Ntuli is at his best when he only uses two characters in the play.
The use of only two characters in the play, however, does not really reflect the African environment and cultural practices where we find members of the family or society contributing to solving a person's problems.
NAMES OF CHARACTERS
Let us now look at another aspect of characterization technique that Ntuli uses in his radio plays. This was a heavy blow to Malusi and resulted in great suffering and misery on his part. His arrival is a blow to Malusi as it disturbs the relative calm that has reigned in his life lately.
This is indeed a heavy blow to Malusi, whose wish it has now been to accept and embrace his father and start a new life with him.
CHOICE OF CHARACTERS
- RELIGIOUS CHARACTERS
- SUSPECTED/ACCUSED CHARACTERS
- THE 'ONLY CHILD'CHARACTERS
- CARS
- HOUSES
- HOUSEHOLD GOODS
- CLOTHINGS
Their importance in the context of the plot draws our attention to the symbolic qualities that Ntuli gives them in the play. In UmSamarya Olamyili, cars are used to symbolize the transformation of the relationship of the two priests in the play. Because of this, we realize that the house is used as a symbol of safety, even though the characters in the play do not directly mention this fact.
Characters possess certain household appliances and equipment and these are sometimes used in a play to symbolize certain aspects of the characters in the play.
CHARACTERS' PHYSICAL FEATURES
Ntuli has used it to symbolize the treacherous nature of this man who claims to be a preacher. In this case, the legs are no longer limbs for walking, but are used by Ntuli to symbolize immoral behavior. Although Menziwa jokingly mentions that he is not an angel, we are tempted to conclude that the fact that he still limps is used by Ntuli to symbolize that Menziwa still has some patterns of behavior that can be traced back to his criminal past.
Ntuli uses the umkhaba in this play to symbolize the vulnerability of the Dlamini honor as it is used by this con artist as a springboard to deceive unsuspecting victims.
CONCLUSION
Theaimain, is to draw the listener's attention to the symbolic aspects of the play by using a poignant title. This convinces us that Ntuli allowed this repetition to draw the listener's attention to the symbolic function of Dlamini's umkhaba in the drama. Ntuli uses humorous situations and statements to draw the listener's attention to the symbolic elements in the drama.
Ntuli also chooses the right position to place the symbolic aspects of the drama in an effective manner.
SUGGESTIONS FOR FUTURE RESEARCH
The positioning of the knock as symbolism in this piece leaves a lasting impression on the mind of the listener. We believe that this also applies to the critics who want to write about radio drama. Ntuli is one of the pioneers of radio drama and has clearly influenced a number of playwrights in isiZulu.
We humbly believe that this study will make a valuable contribution to the study and evaluation of radio drama in isiZulu.
TEXTS
SOURCES QUOTED OR MENTIONED
SOURCES CONSULTED BUT NOT QUOTED
