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Revolutionary Dramatists and Theatrical Practices

Politics of Touch Körper, Berührung, Kritik Fanti Baum Es gibt nicht »den« Körper, es gibt nicht »das« Berühren, es gibt nicht »die« res extensa (Jean-Luc Nancy)1 Berührung: eine Geste, abwesend und zugleich doch da, spürbar hinterlässt sie kaum Spuren, ist sie im selben Maße eine bewusste Entscheidung, gerade nicht zu fassen, zu greifen, zu packen (oder gar zu verstehen), sondern zu berühren. Die Be- rührung steht gewöhnlich auf der Seite des Sinnlichen, und zwischen res cogitans und res extensa würde sie klar den Phänomenen der körperlichen Erscheinungen

The Baltic Way as a Political Performance of Subjectivization1 STEVE WILMER On 23 August 1989, a 600 km human chain linked Tallinn, Riga and Vilnius to condemn the Ribbentrop-Molotov pact on its 50th anniversary. It was a symbolic performance uniting three republics of the Soviet Union in an extraordinary act to denounce the Soviet occupation of these three independent nation-states in 1939 and to demand restitution of their sovereign rights. As an embodied performance of national as well as transnational solidarity, it challenged the Soviet interpretation

Are we actually deeply enough… …with these socio-political questions in our theatres? Khayelihle Dom Gumede We come from a theatre history that is very emphatic in its political agenda. It had very clear political messaging around the struggle against apartheid. However part of our current task as a theatre community, is to collate and create a new voice or voices against an emerging identity. This is difficult because of the particularly mercurial sense of a South African social identity in 2016. Given the myriad of political questions that have been

Pinholes against apartheid A Brief History of Political Theatre in South Africa Joachim Fiebach The history of political theatre in South Africa is a turbulent one: The Township Theatre of Athol Fugard, that won fame in the 1970s and 1980s, just like the travelling theatre of Gibson Kente or the launch of Barney Simons famous Market Theatre, are the fruits of a theatre movement that had been growing throughout an almost hundred year period. The influence of this movement resonates right through to contemporary South African theatre – even Paul Grootboom

Political Theatre and Cultural Activism in the Free State Province, South Africa The vacuum lef t by the death of Thamsanqa Duncan Moleko Montshiwa K. Moshounyane “Comrade Moleko was a giant among men; he knew that in order to fulfil the majority of the aspirations of our artists, he had to sacrifice his artistic career.” (Roda 2013: 14) The aim of this Chapter is to profile the life and times of the late Thamsanqa Duncan Moleko as a pioneer of political theatre and cultural activism in South Africa’s Free State province, with the view to highlight the

habit of addressing listeners in a conversational manner, as though the communication were taking place the Radio Voice that Is telling Me to Go for the throat of the other: two Lessons on Media Politics from LIGnA’s Oedipus, Tyrant Kai van Eikels 206 inside their homes, in direct encounter between the radio host and the radio-owner whose living room accommodates the host voice. A successful format developed for the new medium—like the first US radio serial Ma’ Perkins, which started airing in 1933—introduced a new type of narrator who would talk to the

“Taking meat to the knives” Repor t of the panel discussion “Political Power of Theatre – Cultural Policy for Theatre in South Africa” Lebogang L. Nawa “We bleed They bleed our patient to smithereens as we carry their cross to the poll never intend on crossing swords for our patience when they falter, Had they not pleaded that democracy was young? Meantime, they milk the cow till it bleeds. They besieged the cross-carrier to tell a good story while patiently we watch in horror how the papers of the Constitution are ripped apart. These rulers without shame

Artistic Processes and Cultural Policy in South Africa
Series: Theater, 122
Die Islamdebatte im postmigrantischen Theater
Series: Theater, 72