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New Territories

Theatre, Drama, and Performance in Post-apartheid South Africa

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Edited By Greg Homann and Marc Maufort

South African theatre, drama, and performance is a vibrant and rapidly developing area of contemporary theatre studies. In this critical anthology of essays and interviews, some of the world’s most respected scholars and practitioners writing and working in the area of South African theatre today share their detailed examinations and insights on the complex and contradictory context of post-apartheid society. Loosely grouped into the categories of Theatre, Drama, and Performance, the essays collected here offer a sampling of work being staged, produced, and written in the country today. The contributors document, contrast, and analyse significant case studies, representing examples from site-specific performance to new South African plays, from traditional indigenous performance practice to the reimagining of Western classics. The anthology takes the year of South Africa’s first democratic election, 1994, as its departure point and includes a broad range of topics that capture the current paradigm.
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“Don’t start him on the funding question, ever.” Mark Fleishman and Jay Pather Talking to Geoffrey Davis and Anne Fuchs

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← 382 | 383 → “Don’t start him on the funding question, ever”

Mark Fleishman and Jay Pather Talking with Geoffrey Davis and Anne Fuchs in Toulouse, 8th June, 2013

GD: I happened to listen to your long stories this morning over breakfast and also yesterday. It might be interesting for us to hear something about the sort of problems you have with the Department of Arts and Culture, with cultural bureaucrats generally and how it has affected your work.

AF: Yes and there is another point. Yesterday I had been intending to ask a question about funding and the different kinds of funding and sponsorship, and what was the role of sponsorship and how sponsorship had changed, but then Mark said, “We don’t want to end with doom and gloom,” so I thought, “Oh dear, it’s not the right time.” I think there are the two aspects, your relations with the Arts and Culture people, obviously, and State funding, but also sponsorship. Because it seems to me that for instance, compared with somewhere like France, sponsorship plays an enormous part in South African theatre?

MF: You mean, sponsorship as in “commercial sponsorship”?

AF: Yes.

JP: Actually, commercial sponsorship took off on quite a few different layers, even before 1994, but it’s very sporadic and very tense. One of the big significant things is BASA,1 an organisation which is an incentive to sponsor. It brought all the corporate sponsors under...

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