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| Maak vi' ons lig moet hierie woorde soes moet kerse [boodskap #87017] |
Di, 11 November 2003 06:29  |
TJ
Boodskappe: 723
Geregistreer: Januarie 2004
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Met Woorde Soos Met Kerse
In 2002 the poet Antjie Krog published an anthology of translated and
reconstructed poems from /Xam, Xhosa, Zulu and other traditional South
African language groups in Afrikaans called 'Met woorde soos met kerse',
(with words as with candles). From the 20th to the 23rd of November, UCT
Drama Department will be presenting a stage production of a collection of
some of these poems under the direction of Sandra Temmingh. Venue; The
Playroom.
The poetry-play is unconventional in the sense that it does not consist of a
linear narrative. Rather, it takes the form of a journey through the process
of the language experience, a journey that the players and the audience
undertake together. In 'Met woorde soos met kerse', we are not concerned
with comprehending what we see in any conventional manner, because the play
does not relate to any so-called 'presence', but about the very foundation
of poetry: sound and emotion.
The journey is undertaken in the medium of sound. The audience is taken in
and transformed as it were, to become a part of the experience. With many of
the poems, there is a spiritual feeling of reverence, ritual or ceremony.
Through the rhythm and presentation of the word, the audience is overtaken,
and becomes part of the ceremony. The experience of this undefined sacrament
is a collective one. Audience and players are united in the space of sound
and movement, and the separation between spectator and performance is
negated.
At times the three players, Jill Levenberg, Mbulelo Grootboom and Andile
Nebulane, speak the verse in an interwoven and fragmented manner so that the
language is disconnected from its normal communicative function, and so
doing refers back on itself. The audience is not only aware of the content
and meaning of the poems, but also confront the fact that language itself is
in use.
A kind of conversation is created that exists independently of the verse. A
type of monologue wherein the spiritual is experienced through the impetus
taken from sound.
Since many of the poems are recorded in a historical context, (that of the
praise singers for example) attention is paid to the traditional grounding
out of which the business is created. Sometimes an exaggerated style is
used, which both serves the historical sensibilities as well as (in a
post-structural sense) exposing the scene as mere performance. The word is
the occurrence, and the occurrence is the word - the one unveils the other.
The traditional is also kept in mind with the visual component of the
production, as for example in the use of traditional costumes and music.
The interpretation of the verse is sometimes done by means of counterpoint,
where we hear the poems being spoken simultaneously in Afrikaans and,
perhaps, Xhosa. The juxtapositioning of the Western and the African thus
emphasises the historical, endemic origin of the verse.
'Met woorde soos met kerse' attempts establish a moment of light through the
theatrical form. Hence why Antjie Krog's title could be borrowed from Adam
Small's poem 'K� laat ons sing' (come, let us sing). Language is inherently
mise-en scéne, and the language becomes the spectacle - "Maak vi' ons lig
moet hierie woorde soes moet kerse" (make light for us with these words as
with candles).
Bookings through the Little Theatre 021 480 7129.
www.artslink.co.za
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| Re: Maak vi' ons lig moet hierie woorde soes moet kerse [boodskap #87018 is 'n antwoord op boodskap #87017] |
Di, 11 November 2003 06:44  |
Annette
Boodskappe: 11112
Geregistreer: Augustus 2003
Karma: 1
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Senior Lid |
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Jislaaik - wanneer so baie en groot woorde gebruik word om te probeer
verduidelik wat hulle wil probeer doen, bly ek lugtig vir die projek. Ek het
buitendien 'n probleem om na meer as een ding op 'n slag te luister.
Ek was eens op 'n keer betrokke by 'n projek wat uitgevoer is in die museum
se walvis-saal. Ons is in groepies van 6 oraloor geplaas, bo, onder, tussen
die gehoor - en moes vir 'n uur lank dieselfde paar note en woorde oor en
oor herhaal - elke groepie met hul eie note en woorde. Die ondervinding het
my geleer dat selfs onder 'n kakofonie en aktiewe deelname ek aan die slaap
kan raak:)))
--
Annette
"TJ" skryf in boodskap news:bopvkn$hli$1@ctb-nnrp2.saix.net...
> Met Woorde Soos Met Kerse
>
> In 2002 the poet Antjie Krog published an anthology of translated and
> reconstructed poems from /Xam, Xhosa, Zulu and other traditional South
> African language groups in Afrikaans called 'Met woorde soos met kerse',
> (with words as with candles). From the 20th to the 23rd of November, UCT
> Drama Department will be presenting a stage production of a collection of
> some of these poems under the direction of Sandra Temmingh. Venue; The
> Playroom.
>
> The poetry-play is unconventional in the sense that it does not consist of a
> linear narrative. Rather, it takes the form of a journey through the process
> of the language experience, a journey that the players and the audience
> undertake together. In 'Met woorde soos met kerse', we are not concerned
> with comprehending what we see in any conventional manner, because the play
> does not relate to any so-called 'presence', but about the very foundation
> of poetry: sound and emotion.
>
> The journey is undertaken in the medium of sound. The audience is taken in
> and transformed as it were, to become a part of the experience. With many of
> the poems, there is a spiritual feeling of reverence, ritual or ceremony.
> Through the rhythm and presentation of the word, the audience is overtaken,
> and becomes part of the ceremony. The experience of this undefined sacrament
> is a collective one. Audience and players are united in the space of sound
> and movement, and the separation between spectator and performance is
> negated.
>
> At times the three players, Jill Levenberg, Mbulelo Grootboom and Andile
> Nebulane, speak the verse in an interwoven and fragmented manner so that the
> language is disconnected from its normal communicative function, and so
> doing refers back on itself. The audience is not only aware of the content
> and meaning of the poems, but also confront the fact that language itself is
> in use.
>
> A kind of conversation is created that exists independently of the verse. A
> type of monologue wherein the spiritual is experienced through the impetus
> taken from sound.
>
> Since many of the poems are recorded in a historical context, (that of the
> praise singers for example) attention is paid to the traditional grounding
> out of which the business is created. Sometimes an exaggerated style is
> used, which both serves the historical sensibilities as well as (in a
> post-structural sense) exposing the scene as mere performance. The word is
> the occurrence, and the occurrence is the word - the one unveils the other.
>
> The traditional is also kept in mind with the visual component of the
> production, as for example in the use of traditional costumes and music.
>
> The interpretation of the verse is sometimes done by means of counterpoint,
> where we hear the poems being spoken simultaneously in Afrikaans and,
> perhaps, Xhosa. The juxtapositioning of the Western and the African thus
> emphasises the historical, endemic origin of the verse.
>
> 'Met woorde soos met kerse' attempts establish a moment of light through the
> theatrical form. Hence why Antjie Krog's title could be borrowed from Adam
> Small's poem 'K� laat ons sing' (come, let us sing). Language is inherently
> mise-en scéne, and the language becomes the spectacle - "Maak vi' ons lig
> moet hierie woorde soes moet kerse" (make light for us with these words as
> with candles).
>
> Bookings through the Little Theatre 021 480 7129.
>
>
> www.artslink.co.za
>
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