Toward a Topography of Cross-Cultural Theatre Praxis

In this essay we attempt to map out a conceptual framework for analyzing a cluster of related practices subsumed under the broad banner of "cross-cultural theatre". For the purposes of our discussion, cross-cultural theatre encompasses public performance practices characterized by the conjunction of specific cultural resources at the level of narrative content, performance aesthetics, production processes, and/or reception by an interpretive community. The cultural resources at issue may be material or symbolic, taking the form of particular objects or properties, languages, myths, rituals, embodied techniques, training methods, and visual practices - or what James Brandon calls "cultural fragments" (1990:92). Cross-cultural theatre inevitably entails a process of encounter and negotiation between different cultural sensibilities, although the degree to which this is discernible in any performance event will vary considerably depending on the artistic capital brought to a project as well as the location and working processes involved in its development and execution

Oral literature in South Africa: 20 years on

I offer a retrospective on the field of orality and performance studies in South Africa from the perspective of 2016, assessing what has been achieved, what may have happened inadvertently or worryingly, what some of the significant implications have been, what remain challenges, and how we may think of, or rethink, orality and performance studies in a present and future that are changing at almost inconceivable pace.DHE