Abstract

KEURIS, Marisa. Afrikaans drama and theatre from 1925 to 2025: A few theatre-historical remarks. Tydskr. geesteswet. [online]. 2025, vol.65, n.1, pp.383-401. ISSN 2224-7912.  https://doi.org/10.17159/2224-7912/2025/v65n1a16.

An overview of the last hundred years of Afrikaans drama and theatre indicates that two main approaches were followed when this period was documented, namely an approach that focused largely on the dramatic text (the written and published play) as a literary text and was discussed as such within the various literary histories (see Antonissen, Dekker, Cloete, Kannemeyer, Van Coller), and another approach that focused on theatre and performance activities within this period (as recorded by Bosman, Binge, Botha and others). In this article I argue for an integrated approach (aspropagated by the well-known theatre historiographer Postlewait) and try to illustrate how particular events within the history of Afrikaans theatre have influenced and determined the production of plays in this century. The following four periods are distinguished: (1) the early development of Afrikaans drama and theatre (1925-1947): pioneers and trailblazers; (2) the National Theatre Organisation (NTO) and the development of the Afrikaans professional theatre (1947-1962); (3) the performing arts councils, namely the Performing Arts Council of the Transvaal (PACT), the Cape Performing Arts Board (CAPAB), the Performing Arts Council of the Orange Free State (PACOFS), and the Natal Performing Arts Council (NAPAC): 1963 to early 1990s; and (4) post-1994: art festivals, the Covid-19 pandemic. While most literary historians see the first period (1925-1947) as one which did not yield many plays of value (especially when compared to what was produced by poets and novelists during these years), too little attention was given in the literary discussions to the difficult conditions within which the first theatre pioneers had to work (inter alia, financial limitations, poor infrastructure, long travelling distances). Theatre historical works, for example the memoires of Hendrik and Mathilde Hanekom (written by AnnaMinnaar-Vos), Anna Neethling-Pohl and others were referenced to illustrate these conditions and to commend the theatre pioneers for establishing the first Afrikaans theatre in the country. While more Afrikaans plays were produced in the second period (1947-1962), little reference was again made in the literary histories of the work done in the theatre organisations of this period to develop Afrikaans theatre, as well as the material conditions impacting on theatre practitioners and administrators. To address this mainly "literary" perspective, reference is made to "Oom Breytie" Breytenbach 's contribution as theatre administrator of the NTO. In the third period under discussion (1963-1990s) the establishment of the regional performance arts councils (PACT, CAPAB, PACOFS, NAPAC) brought aboutfinancial security for theatre practitioners and consequently Afrikaans theatre (and the production of new Afrikaans plays) blossomed. Beautiful performances ofplays (with specially designed costumes and décor sets) were presented during this period, within state-of-the-art theatre complexes - but "for whites only". This situation could not continue, and after strong criticism from outside South Africa (inter alia the "Equity boycott" of the period 1963 to the 1980s), and domestically by the writers/playwrights ("Sestigers") themselves, these art councils were disbanded in the early 1990s and changed from production houses to receiving houses. While some reference is made to certain initiatives originating from the theatre practitioners (namely "Kampustoneel": 1983-1993) in the literary overviews, the enormous changes wrought by the implosion of the art councils - also on the playwrights - are scarcely mentioned in these studies. In more recent literary reviews, some academics (inter alia Odendaal and Coetser) expressed concern about the situation regarding Afrikaans plays and mentioned a clear decline in the number of published plays since the late 1980s. In the final period under discussion (Post 1994) the emergence of art festivals, namelyfirst the Klein Karoo National Arts Festival (KKNK) in 1995, followed by the Aardklop National Festival (Aardklop), the Toyota Stellenbosch Woordfees, the Vrystaat Kunstefees/Arts Festival, and more recently the Suidoosterfees, ushered in a new period for Afrikaans theatre. Some interesting links to the early days ofpioneer theatre practitioners, as well as national "volksfeeste" are now drawn by academics. The precariousness offestivals, however, were dramatically demonstrated when the Covid-19 global pandemic in 2020 had a devasting effect on all festivals and indeed on most theatrical activities in South Africa. It is only since 2023 that it seems as if these festivals, and the Afrikaans theatre industry, have recovered again. In the words of Hendrik and Mathilde Hanekom in 1925 "Die spel gaan voort" ("The show must go on")!

Keywords : drama; theatre; literary history versus performance history; NTO; performance arts councils; arts festivals.

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