This research dissertation aims to show the development of what Mkhwane and Pearson call the theater of the imagination. The dissertation documents and discusses the development of what Mkhwane and Pearson call "the theater of the imagination" (Von Brisinski.
South African theatre and its influence on Theatre of the Imagination
This emphasis on the actor's physical presence and reliance on the body as a communicative tool permeates Mkhwane and Pearson's work. The convention of two narrators is a feature of Mkhwane and Pearson's theatre, in which both performers act as narrators.
Mkhwane and Pearson as KwaZulu-Natal-based performers
The chapter includes a description of the characteristics of Mkhwane and Pearson's theater and describes several performances by the duo at various arts festivals. This information is interesting and valuable and provides some insight into Mkhwane and Pearson's concept of Theater of the Imagination, as described in section 1.2.
Theatre of the Imagination as interculturalism and postcolonialism
It is also evident that Mkhwane and Pearson have a better understanding of the structures and traditions of Zulu communities. An obvious parallel between the collaborative theater of the 1970s and the theater of Mkhwane and Pearson is the use of poor theater aesthetics.
Ellis Pearson
Therefore, the poor theater aesthetics ensured that theater critical of the government was seen. The Lecoq school also emphasizes the importance of universal communication (Murray especially through the use of the body.
The Loft Theatre Company and Nicholas Ellenbogen
Certainly, some features of Raiders of the Lost Aardvark have found their way into Mkhwane and Pearson's theatre. Many of the props used in Mkhwane and Pearson's theater are not used for their original purpose.
Influence of the Raiders series on the theatre of Mkhwane and Pearson
The presence of these gizmos in the Ellenbogen and Mkhwane and Pearson theaters is a result of Pearson's influence. Pearson learned magic as a child and sees gizmo as a form of magic and an expression of a subconscious desire for real magic in our lives (Mkhwane and Pearson 2004: personal communication). The Theater for Africa Company founded by Ellenbogen was based in Johannesburg from the outset, and although Pearson lived in the city during the early years of Theater for Africa, he found his home in KwaZulu-Natal ( Mkhwane and Pearson 2004: personal communication. ).
When asked about the extent of his involvement, Pearson was evasive, choosing instead to discuss the frustrations he faced trying to instill a sense of discipline in the Kwamanzi cast (Mkhwane and Pearson 2004: personal communication). Although the level of audience participation in the Mkhwane and Pearson Theater is less than in the Raiders series, it still follows the same model as the Raiders series. While no audience member has such a large role in Mkhwane and Pearson's plays, audience members are often used as incidental and supporting characters.
While Raiders is entertainment with a message, Mkhwane and Pearson's work is a message that happens to be entertaining. As in Raiders, Mkhwane and Pearson will often threaten to drown the audience with a large bucket of water.
Mkhwane and Pearson at the Loft Theatre Company
Mkhwane and Pearson also have a tendency to put themselves in physical danger to educate the audience. Drawing on nature for inspiration seems a natural extension of Mkhwane and Pearson's work with Ellenbogen. Ellenbogen's emphasis on the animal condition is carried over into the work of Mkhwane and Pearson.
As with collaborative theatre, Mkhwane and Pearson's theater makes strong use of the Weak Theater aesthetic. The Wave is Mkhwane and Pearson's response to the horrific aftermath of the tsunami that occurred in 2004. Commedia dell' arte has participatory elements that are similar to those used in Mkhwane and Pearson's theatre.
Each of these aspects of commedia dell'arte can be found in the theater of Mkhwane and Pearson. Therefore Theater of the Imagination refers to the audience's perception of the reality that Mkhwane and Pearson portray through their theatre.
Synopses and examination of the three plays
Skadonk
As can be seen in the synopsis, Skadonk uses taxi violence as a large part of the story. The general tone of The Hungry Heart differs from other plays by Mkhwane and Pearson. Colonialism is personified in The Hungry Heart by the character of The Stranger (played by Pearson).
One could argue that the jobs and trade offered by The Stranger in The Hungry Heart are symbolic of the Western approach to foreign aid in Africa. Through the use of this imagery, Mkhwane and Pearson question the nature of the concept itself. There is a shortage of food and the people have grown distrustful of Chief Masaka.
There is still a food shortage, which could have been caused by the destruction of the granaries in The Hungry Heart. The way in which the events unfold throughout the course of The Hidden indicates that Mkhwane and Pearson strongly believe in the principles and objectives of the TRC.
Definitions of interculturalism
This chapter examines the nature of the collaboration between Ellis Pearson and Bheki Mkhwane through the lens of interculturalism (Bharucha and 2005) Patrice Pavis (1996), Julie Stone Peters (1995) and Richard Schechner (2002). The discussion centers on the nature of their creative relationship and the charged question of whether an equal partnership is possible when one partner comes from a privileged background and has formally studied Western theater forms, while the other comes from historically disadvantaged and economically disadvantaged circumstances without opportunity. for specialized study. Solving this problem is important because the nature of the collaboration between Ellis Pearson and Bheki Mkhwane has a strong influence on the aesthetics of their theater.
Integrative interculturalism seeks to identify the differences between the performative elements found in cultures, and then to combine them to create a new type of performance. Disjunctive interculturalism, on the other hand, seeks to "expose the problems and explore the possibilities of playing across national, cultural, artistic and personal boundaries". Disjunctive interculturalism offers a more critical perspective on the nature of intercultural exchange by exposing the conflicts that arise from the encounter of different cultures.
Disjunctive interculturalism, on the other hand, recognizes the potential dangers inherent in the globalization agenda and the conflicts that result from the encounter between cultures. It is his critique of interculturalism, along with Julie Stone Peters (1995), against which the work of Mkhwane and Pearson will be judged.
Criticisms of interculturalism
The 1985 stage play created by Peter Brook based on the Mahabharata was supported and financed by the Indian government of the time. These factors, according to Bharucha, guide the way in which intercultural theater utilizes cultural property. Peters also mentions two other forms of interculturalism that are examples of exploitation by Western practitioners.
The effects of the social hierarchy based on race and class that came as a result of the apartheid regime still remain in South Africa. At the time of the formation of his collaboration with Mkhwane, Pearson would have been in a significantly higher position in the hierarchy than Mkhwane. Pearson may historically be the most influential member of the co-op because of the privileges afforded him as a result of his race and class.
Furthermore, Mkhwane's role within the collaboration is not to provide a drawable African element, but rather an integral aspect of Mkhwane and Pearson's exploration of the South African microcosm. However, such explorations must be situated within an ethically defensible position, which is true in the case of the theater of Mkhwane and Pearson.
Conclusion
Throughout this dissertation, the characteristics and thematic elements that make up Mkhwane and Pearson theater have been examined. The stylistic elements present in their work, such as: their approach to characterisation, their use of props and costumes, are the end result of the training they have received combined with their existing preoccupations. These stylistic elements are chosen to evoke and stimulate the imagination of the audience.
Importance and reverence for nature is a central theme in Mkhwane and Pearson's work. Mkhwane and Pearson have chosen to delve into the issues and challenges that stand in the way of South Africa's development. By presenting these issues within the framework of an imagined community, Mkhwane and Pearson suggest how these issues affect us.
Mkhwane and Pearson also hint at the possibility that these problems, if faced and dealt with in a humane way, could be solved. This idealism is central to the Theater of the Imagination aesthetic as it informs all aspects of Mkhwane's and Pearson's work, suggesting the possibility of reconciliation and hope.
Bibliography and References
Paper presented at the Gender and Visuality Conference, in Cape Town between 26. -29. August 2004: University of the Western Cape. The Italian Comedy: Improvisation, Scenarios, Lives, Attributes, Portraits, and Masks of the Illustrative Characters of the Commedia delTArte. Paper presented at the International Federation of Theater Research Conference in Stellenbosch July 2008: University of Stellenbosch.
Appendix
It usually comes out of discussions, things that we feel strongly about that are happening in the world. Grotowski especially talked about practicing in the presence of nature, and we tried to do that when we did Exodus, and tried to use some of Grotowski's principles. And with theater you think, how can you do it on stage, what choices do you make, how do you make the transition from being a human at the beginning of the story, to becoming a human in the form of a snake, at the end of the story.
And I think that's wonderful, because in the Western world, if you can find that kinship, it's so much better for us because the environment needs it. The show also often features a chicken; for with Lecoq, the rooster's crowing is a call to consciousness - from the formless unconsciousness. In the clown section of Lecoq, we studied the essence of the clown, which is the essence of the child, the most vulnerable part of yourself, if you bring this to any role you play, it will inevitably be richer if you bring your own humanity, your wounds, the lessons you've learned taught will inevitably be much richer, and Lecoq taught me that.
It comes from my humanity, as opposed to losing yourself in the role where you're only interested in the character that Shakespeare created. It's still something you have to drug and medicate, subvert, bring it under your control - we're control freaks in the West - as opposed to something you listen to, talk to, have a relationship with.
