A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making

 

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dc.contributor.advisor Morris, Gay en_ZA
dc.contributor.advisor Sitas, Ari en_ZA
dc.contributor.author Mahali, Alude en_ZA
dc.date.accessioned 2015-07-03T08:32:29Z
dc.date.available 2015-07-03T08:32:29Z
dc.date.issued 2014 en_ZA
dc.identifier.citation Mahali, A. 2014. A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making. University of Cape Town. en_ZA
dc.identifier.uri http://hdl.handle.net/11427/13350
dc.description Includes bibliographical references. en_ZA
dc.description.abstract This study is about contemporary black theatre makers and theatre making in the 'now moment'; this moment of recovery and gradual transition after the fall of apartheid in South Africa. The 'now moment', for these theatre makers, is characterized by a deliberate journey inward, in a struggle towards self-determination. The 'now moment' is the impulse prompting the 'beautiful pain syndrome', and through performances of uncomfortable attachments and rites of passage, generates and dwells in the syndrome. Uncomfortable attachments are unsettlement and anxiety wrought by the difficulty of the 'now moment'. These manifest in the work of Black South African-based contemporary theatre makers, Mandla Mbothwe, Awelani Moyo, Mamela Nyamza and Asanda Phewa, within the duality of the 'beautiful pain syndrome'. The 'beautiful pain syndrome' is a cultural dis-ease revealed by the individual theatre makers through the aesthetic interpretation, or beautiful consideration of inherently painful material – a condition or predicament that best contains and yet attempts to unpack this shifting impulse of the 'now' moment. The works around which this study revolves, namely Mbothwe's Ingcwaba lendoda lise cankwe ndlela (the grave of the man is next to the road) (2009), Moyo's Huroyi Hwang – De/Re Composition (2007), Nyamza's Hatched (2009) and Phewa's A Face Like Mine (2008) are rites of passage works, representing a passage or transition from one phase of life to another, which occurs on multiple levels. Through guiding thinking tools, which include intuition, my own positioning, observation and comparative and cultural performance analysis, the four selected works are described, probed and, interrogated; with their purposes and poetics investigated and articulated in different ways. The study does not complete the assignment of unpacking the four works but continues to wonder and worry at them, while investigating a particular aesthetic of dis-ease through the artistic assemblage of symbolic categories. These rites of passage works reflect or echo the transitions in the country's shifting identity, along with the identities of the individuals who inhabit it. en_ZA
dc.language.iso eng en_ZA
dc.subject.other Drama en_ZA
dc.title A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making en_ZA
dc.type Doctoral Thesis
uct.type.publication Research en_ZA
uct.type.resource Thesis en_ZA
dc.publisher.institution University of Cape Town
dc.publisher.faculty Faculty of Humanities en_ZA
dc.publisher.department Department of Drama en_ZA
dc.type.qualificationlevel Doctoral
dc.type.qualificationname PhD en_ZA
uct.type.filetype Text
uct.type.filetype Image
dc.identifier.apacitation Mahali, A. (2014). <i>A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of Drama. Retrieved from http://hdl.handle.net/11427/13350 en_ZA
dc.identifier.chicagocitation Mahali, Alude. <i>"A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of Drama, 2014. http://hdl.handle.net/11427/13350 en_ZA
dc.identifier.vancouvercitation Mahali A. A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of Drama, 2014 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/13350 en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Mahali, Alude AB - This study is about contemporary black theatre makers and theatre making in the 'now moment'; this moment of recovery and gradual transition after the fall of apartheid in South Africa. The 'now moment', for these theatre makers, is characterized by a deliberate journey inward, in a struggle towards self-determination. The 'now moment' is the impulse prompting the 'beautiful pain syndrome', and through performances of uncomfortable attachments and rites of passage, generates and dwells in the syndrome. Uncomfortable attachments are unsettlement and anxiety wrought by the difficulty of the 'now moment'. These manifest in the work of Black South African-based contemporary theatre makers, Mandla Mbothwe, Awelani Moyo, Mamela Nyamza and Asanda Phewa, within the duality of the 'beautiful pain syndrome'. The 'beautiful pain syndrome' is a cultural dis-ease revealed by the individual theatre makers through the aesthetic interpretation, or beautiful consideration of inherently painful material – a condition or predicament that best contains and yet attempts to unpack this shifting impulse of the 'now' moment. The works around which this study revolves, namely Mbothwe's Ingcwaba lendoda lise cankwe ndlela (the grave of the man is next to the road) (2009), Moyo's Huroyi Hwang – De/Re Composition (2007), Nyamza's Hatched (2009) and Phewa's A Face Like Mine (2008) are rites of passage works, representing a passage or transition from one phase of life to another, which occurs on multiple levels. Through guiding thinking tools, which include intuition, my own positioning, observation and comparative and cultural performance analysis, the four selected works are described, probed and, interrogated; with their purposes and poetics investigated and articulated in different ways. The study does not complete the assignment of unpacking the four works but continues to wonder and worry at them, while investigating a particular aesthetic of dis-ease through the artistic assemblage of symbolic categories. These rites of passage works reflect or echo the transitions in the country's shifting identity, along with the identities of the individuals who inhabit it. DA - 2014 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2014 T1 - A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making TI - A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making UR - http://hdl.handle.net/11427/13350 ER - en_ZA


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