Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa
| dc.contributor.advisor | Reddy, Thiven | |
| dc.contributor.advisor | ||
| dc.contributor.author | Seti, Kitso | |
| dc.date.accessioned | 2023-04-26T08:23:21Z | |
| dc.date.available | 2023-04-26T08:23:21Z | |
| dc.date.issued | 2022 | |
| dc.date.updated | 2023-04-26T08:20:33Z | |
| dc.description.abstract | When a Black person sees a display on stage of a fellow Black person getting killed by a White person, why do they not intervene to stop that killing from happening? One would answer, ‘Because it is just a performance. That Black person is not literally getting killed. It is all an act'. Fair enough. Then why does that spectating Black person get a heavy heart when he sees that killing being portrayed on stage? Is it because it is an experience he is familiar to? He has seen his fellow Blacks getting killed in front of his eyes. What does he do about what he sees on stage? What does the play do to his psyche? Richard Schechner, using Goffman's words, argues that the events on stage must be experienced as, what he deems, ‘actual realization': meaning that “the reality of performance is in the performing” (Bennet, 1997:11). Because the violence taking place on stage is only a performance, the spectator does not intervene as he might in an actual violence he would see taking place outside the theatre hall. However, that does not, as Schechner puts it, make the violence ‘less real' but ‘different real' (Bennet, 1997:11). The imaginary world of theatre is not an entirely ‘unreal' world, it is a world based on real occurrences. These real occurrences are taken to the imaginary world with hopes that when they are returned to the real world they will impact it in different ways, in ways set to transform it. | |
| dc.identifier.apacitation | Seti, K. (2022). <i>Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa</i>. (). ,Faculty of Humanities ,Department of Political Studies. Retrieved from http://hdl.handle.net/11427/37826 | en_ZA |
| dc.identifier.chicagocitation | Seti, Kitso. <i>"Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa."</i> ., ,Faculty of Humanities ,Department of Political Studies, 2022. http://hdl.handle.net/11427/37826 | en_ZA |
| dc.identifier.citation | Seti, K. 2022. Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa. . ,Faculty of Humanities ,Department of Political Studies. http://hdl.handle.net/11427/37826 | en_ZA |
| dc.identifier.ris | TY - Master Thesis AU - Seti, Kitso AB - When a Black person sees a display on stage of a fellow Black person getting killed by a White person, why do they not intervene to stop that killing from happening? One would answer, ‘Because it is just a performance. That Black person is not literally getting killed. It is all an act'. Fair enough. Then why does that spectating Black person get a heavy heart when he sees that killing being portrayed on stage? Is it because it is an experience he is familiar to? He has seen his fellow Blacks getting killed in front of his eyes. What does he do about what he sees on stage? What does the play do to his psyche? Richard Schechner, using Goffman's words, argues that the events on stage must be experienced as, what he deems, ‘actual realization': meaning that “the reality of performance is in the performing” (Bennet, 1997:11). Because the violence taking place on stage is only a performance, the spectator does not intervene as he might in an actual violence he would see taking place outside the theatre hall. However, that does not, as Schechner puts it, make the violence ‘less real' but ‘different real' (Bennet, 1997:11). The imaginary world of theatre is not an entirely ‘unreal' world, it is a world based on real occurrences. These real occurrences are taken to the imaginary world with hopes that when they are returned to the real world they will impact it in different ways, in ways set to transform it. DA - 2022 DB - OpenUCT DP - University of Cape Town KW - black KW - consciousness KW - solidarity KW - a true humanity LK - https://open.uct.ac.za PY - 2022 T1 - Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa TI - Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa UR - http://hdl.handle.net/11427/37826 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/37826 | |
| dc.identifier.vancouvercitation | Seti K. Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa. []. ,Faculty of Humanities ,Department of Political Studies, 2022 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/37826 | en_ZA |
| dc.language.rfc3066 | eng | |
| dc.publisher.department | Department of Political Studies | |
| dc.publisher.faculty | Faculty of Humanities | |
| dc.subject | black | |
| dc.subject | consciousness | |
| dc.subject | solidarity | |
| dc.subject | a true humanity | |
| dc.title | Black here, black there, black everywhere: using theatre to understand what being-black-in-the-world entailed during apartheid South Africa | |
| dc.type | Master Thesis | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationlevel | MSocSc |