ARTICLES - sun025.sun.ac.za

INDEX: Volume 1 (1987) – Volume 22 (2008)
Compiled by Miemie Neethling & Petrus du Preez

ARTICLES
AKERMAN, ANTHONY. Designing for a writer’s theatre: Interview with Hayden Griffin. 1993,

Vol. 7(2):117-131
ANDERSON, LEILA. Obsession and the Other: a critique of the influence of the Japanese

aesthetic in the work of Geoffrey Hyland. 2006, Vol. 20: 150 – 174.
ANGOVE, COLLEEN. Afrikaner stereotypes and mavericks in selected Fugard plays. 1989, Vol.

3(1):55-68
ARTHUR, THOMAS H. Looking for my relatives: The political implications of “family” in selected

work by Athol Fugard and August Wilson.1992, Vol. 6(2):5-16
AUCAMP, HENNIE. Die sewe doodsondes in kabaretverband. 1994, Vol. 8(2):5-25
BAIN, KEITH & HAUPTFLEISCH, TEMPLE. Playing the changes: Thoughts on the

restructuring of the theatrical system and the arts industry in South Africa after apartheid.
2001, Vol. 15:8-24
BALSEIRO, ISABEL. Between Alexandra and Jurassic Park: Interview with Professor Es’kia
Mphahlele. 2003, Vol. 17:212-233
BANNING, YVONNE. (Re)viewing Medea: Cultural perceptions and gendered consciousness
in reviewers’ responses to the New South African theatre. 1997, Vol. 11(1&2):55-87
BANNING, YVONNE. Language in the theatre: Mediating realities in an audience. 1990, Vol.
4(1):12-33
BANNING, YVONNE. Footprints on the Shore: Documenting Site-Specific Performance. The
Freedom Project, Robben Island, April 27th, 2001. 2002, Vol. 16:137-156
BANNING, YVONNE. Embodied selves: ritual, relationships and identity in theatre production:
An ethnographic case study of Dance in the Shadow of Pain. 2005, Vol. 19: 72-92.
BANNING, YVONNE. Creating vocal style in a scripted theatre production: issues of visibility,
autonomy and integration in vocal practice as research. 2007, Vol. 21:180 – 202.
BARNES, HAZEL. Finding appropriate expression for multiculturalism in a student production.
2000, Vol. 14:28-45
BARNES, H. & PETERS, D. Translating trauma: using arts therapies with survivors of violence.
2002, Vol. 16:157-184
BARNES, HAZEL. White Man writing women: issues of power, gender and ownership in a
collaborative creation. 2005, Vol. 19: 93-115.
BAXTER, VERONICA. Unizima Lomthawala: Satisfying everyone all of the time in drama and
theatre as education. 2000, Vol. 14:55-72
BAXTER, VERONICA. Forum theatre: Learning to live with Limitations. 2005, Vol. 19: 130-
142.
BAXTER, VERONICA & AITCHISON, JAMES. The playful theatre of Nicolas Ellenbogen. 1985
– 1990. 2006, Vol. 20:48 – 64.
BERTELSEN, EVE. Radical Cheek: Film theory and the common viewer. 1991, Vol. 5(1):5-23
BIRRINGER, JOHANNES H. Texts, plays and instabilities. 1987, Vol. 1(1):4-16
BIRRINGER, JOHANNES. Performance Systems. 2003, Vol. 17:79-113
BLUMBERG, MARCIA. Re-evaluating otherness, building for difference: South African theatre
beyond the interregnum. 1995, Vol. 9(2):27-37
BLUMBERG, MARCIA. Staging AIDS: Activating theatres. 1997, Vol. 11(1&2):155-181
BLUMER, ARNOLD. Die Duitse kabaret: ‘n Beknopte oorsig. 1995, Vol. 9(1):53-68
BLUMER, ARNOLD. States of emergency: Some thoughts on Brecht’s Fear and Misery of the
Third Reich. 1989, Vol. 3(1):39-54
BOSCH, BARBARA. Powerspeak in Reza de Wet’s Diepe Grond. 1995, Vol. 9(1):79-88

BOSCH, MORWENNA. Limping into the African Renaissance: the Abject Art of Steven Cohen.
2005, Vol. 19: 116-129.

BOTHA, MARTIN. My involvement in the process which led to the White Paper on South
African Cinema. 1997, Vol. 11(1&2):269-285

BREITINGER, ECKHARD. Heroes of South African history as operatic heroes: Akin Eub’s
Chaka and Nbongemi Ngema’s The Zulu. Bass 50 SATJ 1999, Vol. 13(1&2):104-108

BUTCHER, NEIL. Herbert Dhlomo in perspective. 1992, Vol. 6(2):49-63
CASTELYN, SARAHLEIGH. “Mama Africa”: HIV/AIDS and national identity in South African

choreography. 2008, Vol. 22: 62 – 83.
CHINYOWA, KENNEDY, C. Towards an Aesthetic for African Popular Theatre. 2007, Vol. 21:

13 – 30.
CLAASSEN, GEORGE. News as vaudeville: The dramatic image; news diffusion and demise

of cultural literacy through show business. 1996, Vol. 10(2):101-115
COETZEE, MARIÉ-HELEEN. Playing sticks: An exploration of Zulu stick fighting as

performance. 2000, Vol. 14:97-113
COETZEE, M-H, MUNRO, M & DE BOER, A. Deeper sites through various Lines: LMS and

whole brain training for performers in the HET band. 2004, Vol. 18:134-157.
COETZEE, YVETTE. Visibly invisible: How shifting the conventions of the traditionally invisible

puppeteer allows for more dimensions in both the puppeteer-puppet relationship and the
creation of theatrical meaning in Ubu and the Truth Commission. 1998, Vol. 12(1&2):35-51
COETZER, J.L. “So little of it left”: remembrance, occasion, and event in Afrikaans theatre.
2003, Vol.17:8-36
COETZER, J.L. Gemeenskapstoneel deur Robert J. Pearce: aspekte van bewussyn (‘n eerste
verkenning). 2008. Vol. 22: 166 – 189.
COLLERAN, JEANNE. Re-situating Fugard: Re-thinking revolutionary theatre. 1995, Vol.
9(2):39-49
CONRADIE, P J. Debates surrounding an approach to African tragedy. 1996, Vol. 10(1):25-34
CONRADIE, P J. Syncretism in Wole Soyinka’s play The Bacchae of Euripedes. 1990, Vol.
4(1):61-74
CONRADIE, P J. Tragic conflicts in three African plays. 2000, Vol. 14:129-145
COSSER, MICHAEL. Dramatic discourse in the foreground of The Hill. 1991, Vol. 5(2):66-79
DALRYMPLE, LYNN. From ritual to rationality: A semiotic analysis of schooling rites. 1990, Vol.
4(1):119-147
DALRYMPLE, LYNN. Researching drama and theatre in education in South Africa. 1995, Vol.
9(2):61-82
DALRYMPLE, LYNN. Some thoughts on identity, culture and the curriculum; and the future of
South African Theatre. 1987, Vol. 1(2):20-51
DALRYMPLY, LYNN. Drama Studies in the Twenty-first Century: Dangers and Opportunities.
2005, Vol. 19:157-170.
DAVIDOFF, TERRI. Deconstructing Jay Pather’s location-specific theatre: creating space for
transformative dialogue. 2006, Vol. 20: 128 – 149.
DAVIS, GEORGE V. Addressing the silence of the past: Truth and reconciliation in post-
apartheid theatre. Bass 50 SATJ 1999, Vol. 13(1&2):60-72
DE VILLIERS, COENIE. Cabaret as new journalism: A proposed model for intertextual
analysis. 1994, Vol. 8(2):127-149
DEGAN, JOHN A. Cultural identity and cross-cultural assimilation: The case of Nigerian drama
in English. 1987, Vol. 1(2):52-62
DUGGAN, CAROLYN. Gabbling like a thing most brutish: The post-colonial writer and
language, with reference to the earlier plays of Zakes Mda. 1997, Vol. 11(1&2):109-132
DU PREEZ, P. Babel en Breytenbach: Kwessies rondom die ‘verstaanbare’ in die Afrikaanse
dramas van Breyten Breytenbach. 2004, Vol. 18:183-219
DU PREEZ, P & HAUPTFLEISCH, T. Try for White – an Introduction. 2003, Vol. 17:281-283

DU PREEZ, P. Shaping the metaphor: Marthinus Basson as artis/director. 2006, Vol. 20: 79 –
101.

ECKARDT. MICHEAL. South African film historiography. A plea for the use of domestic
sources. 2006, Vol. 20: 177 – 191.

EPSKAMP, KEES. Playing in a sandpit: International Popular Theatre Meeting in Namibia.
1993, Vol. 7(1):7-15

FERGUSON, IAN. South African theatre and the future of drama departments. 1993, Vol.
7(2):54-62

FINESTONE-PRAEG, JUANITA. Reflective (a)musings on 16 kinds of emptiness…: re-framing
research for practice. 2007, Vol. 21:203 – 220.

FISH, PATRICK. Malan, the Movie: The BBC version of Rian Malan’s My Traitor’s Heart. 1991,
Vol. 5(1):98-108

FLEISCHMAN, MARK. Workshop theatre as oppositional form. 1990, Vol. 4(1):88-118
FLEISHMAN, MARK. Physical images in the South African theatre. 1997, Vol. 11(1&2):199-214
FLEISHMAN, MARK. ‘Stories like the wind’: Recontextualising /Xam narratives for

contemporary audiences. 2005, Vol 19:43-57.
FLEISHMAN, MARK & DAVIS, NADIA. Moving Theatre: An exploration of the place of theatre

in the process of memorializing District Six through an examination of Magnet Theatre’s
production of Onnest’bo. 2007, Vol. 21:149 – 165.
FLOCKEMANN, MIKI. The aesthetics of transformation: Reading strategies for South African
theatre entering the new millennium. 2001, Vol. 15:25-39
FLOCKEMANN, MIKKI. Gcina Mhlope’s Have you seen Zandile?: English or english? The
situation of drama in literature and language departments in the emergent post-Apartheid
South Africa. 1991, Vol. 5(2):40-54
FLOCKEMANN, MIKKI, FRANSMAN, GINO, TINI, LINDA, TICHA, IGNATIUS. Furiously
Enthused? Performing identities, encountering Imumbo-Jumbo: a UWC case study.
2005,Vol. 19: 191-207.
FOLEY, ANDREW. Multiple levels of meaning and liberal existentialism in Athol Fugard’s
Boesman and Lena. 2001, Vol. 15:40-55
FRANCIS, KATI. Theatre of struggle and transformation: A critical investigation into the power
of oral traditions as used by director Mark Fleishman. 2006, Vol. 20: 102 – 127.
FREGE, ILONA. An interview with Gary Gordon. 1995, Vol. 9(2):97-102
FRINGE BENEFITS. Interviews with Three Playwrights: Wayne Robbins, Norman Coombes &
Deon Opperman. 1988, Vol. 2(2):105-9
GAFFNEY, FLOYD. A forgotten man: Ira Alridge in Zagreb, Yugoslavia, 1853. 1988, Vol.
2(2):3-15
GOODMAN, LIZBETH. Teaching feminist theatres: Stages between theory and practice. 1994,
Vol. 8(1):3-23
GRAY, STEPHEN. Interview with Geraldine Aron. 1990, Vol. 4(2):30-49
GRAY, STEPHEN. Problems of compiling a collection of plays of the 1980s. 1993, Vol. 7(2):63-
76
GRAY, STEPHEN. Women in South African theatre. 1990, Vol. 4(1):75-87
GREEN, JEFFREY & RYE, HOWARD. “To the Mother Country”: Jamaican entertainers in
Britain, 1906 – 1936. 1988, Vol. 2(2):62-75
GREER, GRAHAM. The role of the theatre critic in a post-apartheid South Africa. 2001, Vol.
15:56-64
GREYVENSTEIN, WALTER. Let us entertain you! Children’s theatre and popular
entertainment. 1989, Vol. 3(2):51-68
GROBLER, ESMÉ. Varieties of dramatic dialogue. 1990, Vol. 4(1):38-60
GROENEWALD, H C. A little space: Some historical perspectives on Zulu theatre. 2000, Vol.
14:114-128
GROENEWALD, H C. The immoral subject: The moral play in Zulu. 2001, Vol. 15:65-76
GROSS, KENNETH & KATZ, LESLIE. Pinokio. 1995, Vol. 9(1):69-77

GULDIMANN, COLETTE. The (black) male gaze: Mbongeni Ngema’s Sarafina! 1996, Vol.
10(2):85-99

HAGEMANN, FREDERICK. Thinking beyond the already recognizable: body, space and placi
in drama learning. 2005, Vol. 19: 171-180.

HALLIGEY, ALEX. Re-inventing mythologies: arguments toward cultural identity in Medea and
Rain in a Dead Man’s Footprints. 2005, Vol. 19: 208-222.

HAUPT, ADAM. Stifled noise in the South African music box: Prophets of da City and the
struggle for public space. 1996, Vol. 10(2):51-61

HAUPTFLEISCH, T. & HUTCHISON, Y. The social relevance of play (editorial). 1992, Vol.
6(1):1-3

HAUPTFLEISCH, TEMPLE. From the savoy to Soweto: The shifting paradigm in South African
theatre. 1988, Vol. 2(1):35-63

HAUPTFLEISCH, TEMPLE. Homegrown theory for a new theatre (editorial). 2001, Vol. 15:5-7
HAUPTFLEISCH, TEMPLE. In defense of theatre research: An audit revisited (editorial). 2000,

Vol. 14:8-17
HAUPTFLEISCH, TEMPLE. Of actors, academics and the making of the theatre (editorial).

1989, Vol. 3(1):1-2
HAUPTFLEISCH, TEMPLE. Of performers, performances and performance theory (editorial).

1991, Vol. 5(2):1-2
HAUPTFLEISCH, TEMPLE. Post-colonial criticism, performance theory and the evolving forms

of South African theatre. 1992, Vol. 6(2):64-83
HAUPTFLEISCH, TEMPLE. SATJ co-editor Temple Hauptfleisch talks to Richard Schechner

during his visit to the Western Cape in August 1990. 1991, Vol. 5(2):15-21
HAUPTFLEISCH, TEMPLE. Some thoughts on the future of performance- and theatre research

in a “New South Africa” (editorial). 1990, Vol. 4(1):6-11
HAUPTFLEISCH, TEMPLE. Artistic outputs, Arts research and the Rating of the theatre

practitioner as researcher – Some responses to the NRF rating system after the first three
years. 2005, Vol. 19:9-34
HAUPTFLEISCH, TEMPLE. The Seismology of Theatre: Tracing the shock waves of a
theatrical event in society. 2007, Vol. 21:253 – 271.
HAWKINS, BARRY. Hedda Gabler: Eavesdropping on real events. 1998, Vol. 12(1&2):109-136
HEES, EDWIN (Guest Editor). Apartheid, history, film (editorial). 1991, Vol. 5(1):2-4
HEES, EDWIN. “Truly, the ways of the white man are strange”: Tribal utopianism in two South
African propaganda films. 1991, Vol. 5(1):74-97
HEES, EDWIN. Foregrounding the background: Landscape and ideology in some South
African films. 1996, Vol. 10(2):63-84
HOLLOWAY, MYLES. An interview with Zakes Mda, 1988, Vol. 2(2):81-8
HOLLOWAY, MYLES. Creative co-operation: A critical survey of workshop theatre in South
Africa. 1993, Vol. 7(1):17-31
HOLLOWAY, MYLES. Discordant voices of a lived reality: Zakes Mda’s The Hill. 1989, Vol.
3(2):33-50
HOLLOWY, MYLES. Music Hall in Johannesburg: 1886 – 1896. 1997, Vol. 11(1&2):15-53
HOOKHAM, JOHN. The aesthetic sheen: Reflections on banality and grace in the films of Paul
Schrader. 1993, Vol. 7(2):105-116
HOOKHAM, JOHN. We the rhino: Ethnographic aggies and the representation of the Bushmen.
1991, Vol. 5(1):24-34
HUGO, DANIEL. Die man wat vlug vir die Nobelprys: Gedagtes rondom Hugo Claus en sy
besoek aan Suid-Afrika. 1997, Vol. 11(1&2):286-288
HUISMANS, A & FINESTONE, J. Interview: Anja Huismans and Juanita Finestone talk to Reza
de Wet. 1995, Vol. 9(1):89-95
HUTCHISON, YVETTE. “Access to rather than ownership of”: South African theatre history and
theory at a crossroad. 1996, Vol. 10(1):35-47
HUTCHISON, YVETTE. Masks today: Mediators of a complex reality. 1994,m Vol. 8(1):45-62

HUTCHISON, YVETTE. The seductive dance between history and literature: The Moremi
legend by historian Samuel Johnson and playwrights Duro Ladipo and Femi Osofisan. Bass
50 SATJ 1999, Vol. 13(1&2):32-47

HUTCHISON, YVETTE. Theories of drama, theatre and performance in Africa (editorial). 1996,
Vol. 10(1):1-2

HUTCHISON, YVETTE. Riding Osofisan’s Another Raft through the sea of Nigerian history:
theatre fore agency. 2005, Vol. 19: 242-253.

INNES, CHRISTOPHER. Staging black history: Re-imaging cultural. Bass 50 SATJ 1999, Vol.
13(1&2):21-29

IROBI, ESIABA. Theatre of Images: The mask as a metalanguage in indigenous African
drama. 2005, Vol. 19: 223-241.

ISRAEL, CONNIE. Performance as an Alternate Literacy in South Africa. 2007, Vol. 21:275-
291.

ITZHAKI, YEDIDYA. Athol Fugard on the Israeli stage. 1993, Vol. 7(1):62-78
JACO KRUGER, Mitambo: Venda dance theatre. 2000, Vol. 14:73-96
JAFFER, KAY. Notions of coloured identities in Cape Flats theatre: A look at Taliep Petersen’s

District Six – The Musical. 1998, Vol. 12(1&2):91-107
JAMAL, A. Faith in practical epistemology: on collective creativity in theatre. 2003, Vol. 17:37-

64
JAMAL, A. …nothing is / But what is not: Macbeth in Africa. 2004, Vol. 18:30-37
JANSE VAN VUUREN, PETRO. The Hero’s Thesis, the Researcher’s Quest – Exploring the

kinds of knowledge gained from process drama workshops. 2007, Vol. 21:221-240.
KAAHWA, JESSICA. Ugandan Theatre: paradigm shifts. 2004, Vol. 18:81-110
KABWE, MWENYA, B. Transgressing boundaries: Making Theatre from an Afropolitan

Perspective. 2007, Vol. 21:46-65.
KERR, DAVID. African theories of African theatre. 1996, Vol. 10(1):3-23
KERR, DAVID. Drama as form of action research: The experience of UBE423 at the University

of Botswana. 1997, Vol. 11(1&2):133-154
KERR, DAVID. Space and Southern African Community Theatre – Real, Mediated and

Symbolic. 2007, Vol. 21: 31 – 45.
KING, ROBERT L. The rhetoric of dramatic technique in Blood Knot. 1993, Vol. 7(1):40-9
KITSHOFF, HERMAN. Claiming Cultural Festivals: Playing for ppower at the Klein Karoo

Nasionale Kunstefees (KKNK). 2004, Vol. 18:64-80
KOREN-DEUTSCH, ILONA S. Detention, exile and the African playwright: The case of Ngugi

wa Thiong’o. 1993, Vol. 7(1):33-8
KRUEGER, A. The drama of Hunting and healing: interpreting the rituals of the San. 2003, Vol.

17:64-78
KRUEGER, A. On the wild, essential energies of the forest: an interview with Brett Bailey.

2006, Vol. 20: 232 – 333.
KRUGER, LOREN. New Africans, neocolonial theatre and “An African National Dramatic

Movement”. 1995, Vol. 9(1):29-51
KRUGER, MARIE. English pantomime: Reflections on a dynamic tradition. 2000, Vol. 14:146-

173
KRUGER, MARIE. Pantomime in South Africa: The British tradition and the local flavour. 2003,

Vol. 17:129-154
KRUGER, MARIE. Puppets in Education and Development in Africa: the puppet’s dual nature

and sign systems in action. 2007, Vol. 21:64 - 74
KRUGER, MARIE. Puppets in educational entertainment in South Africa: comments on a

number of long-term projects. 2008, Vol. 22: 25 – 43.
LARLHAM, PETER. The impact of the dismantling of Apartheid on theatre in South Africa.

1992, Vol. 6(2):43-8
LINDFORDS, BERNTH. Ira Alridge, The African Roscius. 1996, Vol. 10(1):71-84

LINDFORDS, BERNTH. The United African twins on tour: A captivity narrative. 1988, Vol.
2(2):16-41

LIU, YAO-KUN. An experimental Theatre Laboratory – On Fugard’s play The Coat. 2004, Vol.
18:38-48

LONG-INNES, CHESCA. Hiroshima Mon Amour: A Barthesian reading. 1991, Vol. 5(2):80-91
LOOTS, LLIANE. “The personal is political”: Gender in the context of apartheid South Africa, a

look at two women playwrights. 1996, Vol. 10(1):63-70
LOOTS, LLIANE. Colonised bodies: Overcoming gender construction of bodies in dance and

movement education in South Africa. 1995, Vol. 9(2):51-9
LOTZ, RAINER E. Black troubadours in Europe, 1896 – 1915. 1988, Vol. 2(2):42-61
LOUW, P ERIC. State-subsidised theatre following the September 1984 Vaal uprising. 1989,

Vol. 3(2):101-115
MAINGARD, JACQUELINE. Education for a third cinema in South Africa: Reflections on a

community video education project in Alexandra, Johannesburg. 1991, Vol. 5(1):35-45
MALAN, EUNICE. Theatre and the environment: The example of South American community

theatre. 1990, Vol. 4(2):80-6
MANIM, MANNIE. Documents of South African theatre: Journeys of discovery. 1989, Vol.

3(1):69-80
MAREE, CATHY. Resistance and remembrance: Theatre during and after dictatorship and

apartheid. 1998, Vol. 12(1&2):11-33
MARLIN-CURIEL, STEPHANIE. A little too close to the truth: anxieties of testimony and

confession in Ubu and the Truth Commission and A story I am about to tell. 2001, Vol.
15:77-106
MARNEWECK, AJA. Staging Stereotypes and Performing the Exotic Erotic: An interrogation of
desire in the texts of Parks and Kennedy. 2004, Vol. 18:49-63
MARX, LESLEY. For queen and country: The Fourth Reich and the great betrayal. 1991, Vol.
5(1):61-73
MARX, LESLEY. Underworld RSA. 1996, Vol. 10(2):11-30
MATZKE, CHRISTINE. Trying to find the stepping-stones: Writing Tigre and Bilen dancing in
Eritrea. Bass 50 SATJ 1999, Vol. 13(1&2):73-101
MCDONALD. MARIANNE. Preface to The Abbess. 2006, Vol. 20: 335 – 338.
MCMURTRY, MERVYN. “The Rise of the First Ambassador Bezuidenhout”: Pieter-Dirk Uys’s
creation of Evita Bezuidenhout, her fictional actuality and his approach to female
impersonation. 1994, Vol. 8(2):79-107
MCMURTRY, MERVYN. Adam Leslie and his contribution to satire in Intimate Review in South
African Theatre. 1995, Vol. 9(1):3-27
MCMURTRY, MERVYN. Geographies of research: From “Geographies of Learning”. 2000,Vol.
14:19-27
MCMURTRY, MERVYN. Productions and Publication: Issues in the accreditation of creative
activity for tenure and promotion at tertiary institutions in the United States of America.
2002, Vol. 16:80-91
MCMURTRY, MERVYN. Experiencing the ‘living moment’: Athol Fugard’s directing process
and the Orestes project. 2006, Vol. 20:30-48.
MEERSMAN, BRENT. Democracy, Capitalism and Theatre in the New South Africa. 2007, Vol.
21:292-306.
MERSHAM, G & BAKER, G. Industrial theatre as a negotiated dramaturgy. 2002, Vol. 16:92-
119
MESKIN, TAMAR & VAN DER WALT, TANYA. Approaching MacBeth through representation,
participation and facilitation – a theatre-in-education ‘adventure’. 2007, Vol. 21:75 – 91.
MILLS, LIZ. A conversation that is Research. 2005, Vol. 19:35-42
MORRIS, GAY. Catcalls from the soul: Cabaret’s power to liberate. 1994, Vol. 8(2):109-124
MORRIS, GAY. Theatrical possibilities of the traditional Xhosa iintomsi: What do they offer here
and now? 1989, Vol. 3(2):91-100

MORRIS, GAY. Theatre in Education in Cape Schools: Reflections on South African Theatre
Making practices. 2002, Vol. 16:120-136
MORRIS, GAY. Practicing role play: learning through experience. 2005, Vol. 19: 58-71.
MORRIS, GAY. Considering directors and directing in South African theatre. 2006, Vol. 20:11-
29
MORRIS, GAY. Townships, identity and collective theatre making by young South Africans.
2007, Vol. 21:166 – 179.

MORRIS, GAY. Institutional arrangements of theatre in the Cape: the case of township theatre.

2008, Vol. 22: 102 – 118.
MOYO, AWELANI, LENA. Negotiating migrant identities: foreign bodies, symbolic journeys and
(sub)liminal landscapes in Composition Z – The House of Stone. 2008, Vol. 22: 84 – 101.
MUNRO, MARTH. Towards demystifying voice-building in the next millennium. 2001, Vol.

15:107-118
MUNRO, MARTH & COETZEE, MARIé-HELEEN. Mind the Gap: Beyond Whole-brain learning.
2007, Vol. 21:92 – 108.
MUNRO, MARTH, PRETORIUS, MARIANA & MUNRO, ALLAN. Creativity, emotional
intelligence and emotional creativity in student actors: a pilot study. 2008, Vol. 22: 44 – 61.
NEL, JAN H. Safety in the theatre: A South African dilemma. 1993, Vol. 7(2):41-53
NGAKANE, LIONEL. Thoughts on my life. 1997, Vol. 11(1&2):261-268
OGUNLEYE, F. 21st Century Image of Women: A Womanist Reading of Two Nigerian Plays.
2004, Vol. 18:111-133
OKAGBUE, OSITA. When the dead return: Play and seriousness in African masked

performance. 1997, Vol. 11(1&2):89-107
OLIPHANT, ANDRIES. Isolate the enemy: Community and conflict in popular theatre. 1992,
Vol. 6(2):18-29
OMOTOSO, KOLE. Whose culture is the culture of the global village? 1996, Vol. 10(1):85-87
ORKIN, MARTIN. “This bit of the world is ours”: Butler’s national theatre of the fifties. 1990, Vol.
4(2):87-98
ORKIN, MARTIN. Body and State in Blood Knot / The Blood Knot. 1988, Vol. 2(1):17-34
ORKIN, MARTIN. Whose popular theatre and performance? 1992, Vol. 6(2):30-42
OSBORNE, JANE. The Gumboot Dance: An historical, socio-economic and cultural
perspective. 1990, Vol. 4(2):50-79
PARKER, Z. Standing up for the nation: An investigation of stand-up comedy in South Africa

post-1994 with specific reference to women’s power and the body. 2003, Vol 17:8-29
POTTER, A. ‘What do you think of these Buddhas?’: The function of Buddha in Harold Pinter’s
The Caretaker. 1989, Vol. 3(2):19-32

PRENTKI, TIM. Somewhere over the rainbow: Cultural intervention and self-development in the
new South Africa. 2001, Vol. 15:119-134
PRENTKI, TIM. In the Jungle of Contradictions or Where have all the Grassroots gone? 2007,

Vol. 21:123 – 134.
PRETORIUS, HERMAN. Hennie Aucamp: Die Afrika-konneksie in kabaretverband, 1994, Vol.
8(2):59-78
PRINSLOO, JEANNE. South African films in flux: Thoughts on changes in the politics of
identity in recent film productions. 1996, Vol. 10(2):31-49

RIJSDIJK, IAN-MALCOLM. Black film and power dynamics in contemporary American culture.
1996, Vol. 10(2):117-133
ROOME, D. The Serious ‘consequences’ of comedy: Negotiating cultural change and

difference through humour. 2002, Vol 16:44-62
ROSS, ROBERT L. What colour is Coloured? Lewis Sowden’s The Kimberley Train. 1991, Vol.
5(2):55-65

ROZIK, ELI. Mask and disguise in ritual, carnival and theatre. 1997, Vol. 11(1&2):183-198
ROZIK, ELI. The notion of ‘reference’: A key to the nature of the theatrical experience. 1994,
Vol. 8(1):24-43

ROZIK, ELI. The performance-text as a macro speech act. 1998, Vol. 12(1&2):73-89
SALTER, D. Exile, Return and the New South Africa – An interview with Anthony Ackerman.

2004, Vol. 18:254-273.
SATJ interviews Ian Steadman, winner 1987 Vita Award for Theatre Research. 1987, Vol.

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SATJ interviews Philip Stein, director of the AA Life Vita Awards. 1987, Vol. 1(2):76-7
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14
SCHECHNER, RICHARD. Invasions friendly and unfriendly: The dramaturgy of direct theatre.

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YOUNG-JAHANGEER. MIRANDA. A Luta Continua: a responsive intervention in Warwick
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REPORTS
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BAIN, KEITH. Berkoff, boerewors and box-office betrayal: Standard Bank National Arts Festival

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BAIN, KEITH. Magical millennium dress rehearsal: 25th Anniversary of the Standard Bank

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BAIN, KEITH. Make Believe: Standard Bank National Arts Festival 1998. 1998, Vol.

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BAIN, KEITH. The 1996 Standard Bank National Arts Festival, Grahamstown. 1996, Vol.

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BREITINGER, ECKHARD. Standard Bank National Arts Festival, 2001. 2001, Vol. 15:178-191
CARKLIN, MICHAEL. Mediums of change: The Arts in Africa ’95 Conference. 1996, Vol.

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CRUYWAGEN, E. Report on the Klein Karoo National Arts Festival (KKNK) 2002. 2002, Vol.

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DODGE, HELEN. The role of South African television as an agent of ‘Truth and Reconciliation’.
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DU PREEZ, P. & HAUPTFLEISCH, T. The Director in the Theatre World – Annual Conference
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DU PREEZ. P. The ABSA-Klein Karoo Nasionale Kunstefees – theatrical journalism and
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ECKHARDT, M. A privileged access to the history of popular culture in South Africa – The
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ECHARDT. M. The Leontine Sagan Papers as source of South African theatrical history. 2006,
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EDWARDS, BARRY. Presence and tele-presence: One map of non-linear performance
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ERASMUS, DENENE. Performing a Nation: The 5th Summer Graduate school seminar and
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ESTERHUIZEN, JOHAN. Bringing Cinderella to the Ball: National Arts Coalition Conference on
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ESTERHUIZEN, JOHAN. Cinderella goes shopping: A response to the Standard Bank
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FLOKKEMAN, M. Translations, Affirmations, Inventions and Subversions: Grahamstown 2002.
2002, Vol. 16: 198-207

FREGE, ILONA. Im Puls-Tanz in Wien: An International Dance Festival in the Volksteater,
Vienna. 1994, Vol. 8(2):150-154

GRAY, STEPHEN. Notes on South African and Australian theatre. 1998, Vol. 12(1&2):172-177
HAUPTFLEISCH, GAERIN & BAIN, KEITH. Brecht 2001: A photo essay. Chris Vorster directs

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HAUPTFLEISCH, GAERIN & TOERIEN, FRANCOIS. Klein Karoo Nasionale Kunstefees 1996.

1996, Vol. 10(1):101-106
HAUPTFLEISCH, TEMPLE. Dramatic Learning Spaces: A South African Research

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HAUPTFLEISCH, TEMPLE. African Theatre and Film: An International Conference, University

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HAUPTFLEISCH, TEMPLE. FIRT/IFTR 2000 Regional Congress – Theatre: Sound Space,

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HAUPTFLEISCH, TEMPLE. The eventification of Afrikaans culture – some thoughts on the

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HAUPTFLEISCH, TEMPLE. The International Symposium on popular entertainment as a

reflection of national identity. 1988, Vol. 2(2):76-80
HAUPTFLEISCH, TEMPLE. Sharing Memories in Amsterdam. A response to the XIV

IFTR/FIRT conference on Theatre and Cultural Memory. 2002, Vol. 16:185-189
HAUPTFLEISCH, TEMPLE. The Cultural Bazaar: Thoughts on festival culture after a visit to

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HAUPTFLEISCH, TEMPLE. Dramatic Learning spaces; A South African research Conference

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HEANEY, BOBBY. Cross-pollinating skills: directing for theatre, television and film. 2006, Vol.

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HUTCHISON, Y, HUISMANS, A & MARAIS, R. African Literature in South Africa: Towards a

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INTERNATIONAL LABOUR ORGANISATION, Tripartite meeting on conditions of employment

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JOSEPH, CHRISTOPHER ODHIAMBO. Volksblad-Kunstefees (Bloemfontein) 2004: An

outsider’s view. 2004, Vol. 18:240-243.
KAAHWA, JESSICA. First time encounter narrative of the 31st National Arts Festival held at

Grahamstown. 2005, Vol. 19: 285-296.
KERR, DAVID. A vision in dance: Negotiating history and myth through theatre. Bass 50 SATJ

1999, Vol. 13(1&2):169-173
KERR, DAVID. Giving voice to the silent war: An essay review of Simuka Zimbabwe! by

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KITSHOFF, H. Klein Karoo Nationale Kunstefees (KKNK). 2004, Vol. 18:235-239

KITSHOFF, H. Grahamstown National Arts Festival. 2004, Vol. 18:244-247
LARLHAM, PETER. “It was the best of times, it was the worst of times”: Reflections on the

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LARLHAM, PETER. Journey to Grahamstown: The 1995 Standard Bank National Arts Festival.

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LELIÈVRE, S. Cinema in development and contradiction (Part 1) - A report on African Union

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LUWES, NICO. International Theatreschool Festival, Amsterdam 1996. 1997, Vol. 11(1&2):226-

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MARNEWECK, AJA. Visual theatre moves Out the Box: developing puppetry in South Africa.

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MCDONALD. MARIANNE. Wearing the third hat: Athol Fugard as director. Vol. 20: 207 –

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MILLS, LIZ. Dramatic Learning Spaces Conference: African Performance Practice – Research

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MORRIS, GAY. Report on the 15th world congress of the International Federation of Theatre

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NEETHLING, MIEMIE. To fund or not to fund: Standard Bank National Arts Festival 2000.

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ODENDAAL, L & SCHUTTE, J. Kampustoneel ’94: Tekens van Dekadentisme.1994, Vol.

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ODENDAAL, LOUW & SCHUTTE, JOHAN. ATKV 1995: ‘n Reënboog met spatsels goud.

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ODENDAAL, LOUW. ATKV Kampustoneel ’92. 1992, Vol. 6(1):72-81
ODHIAMBO JOSEPH, CHRISTOPHER. Africa! (Re)source of theatre – the 50th International

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PACEY, BETT. International Seminar on Drama and Religion – Dramatic Arts Centre, Tehran,

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PEARCE, BRIAN. Fifty years of drama at the University of Natal. 2000, Vol. 14:199-201
PEARCE, BRIAN. Life copying art: Performance as a means of inverting racial and social

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PEARCE, BRIAN. The director and the South African theatre. 1998, Vol. 12(1&2):203-207
PEARCE, BRIAN. Reflections on Theatre Criticism. 2003, Vol. 17:245-252
PILLAY, KRIBEN. Finding an identity: South African Indian theatre in Spain. 1998, Vol.

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PILLAY, KRIBEN. The emperor’s new clothes: An exercise in virtual reality – Reflections on the

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ROSSOUW, KOBUS. From strength to strength: Thoughts on the Little Karoo National Arts
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REVIEWS
(All the listed reviews are book reviews, unless stated otherwise. The reviewer’s name appear
in brackets.)
ADEYEMI, SOLA. Portraits of an Eagle: Essays in Honour of Femi Osofisan. (Christopher

Odhiambo Joseph) 2008. Vol. 22: 204 – 209.
ARND, SUSAN., BRETINGER, ECKHARD. & SPITCZOK VON BRISINSKI, MAREK. Theatre,

Performance and New Media in Africa. (Yvette Hutchison) 2008. Vol. 22: 210 – 211.
ARON, GERALDINE. Seven Plays and Four Monologues (Annette L Combrink) 1987, Vol.

1(1):130-132
AUCAMP, HENNIE. By Felix en Madame (Herman Pretorius) 1989, Vol. 3(1):87-90
AUCAMP, HENNIE. Dubbeldop: Kabarettekste en –opstelle (Herman Pretorius) 1994, Vol.

8(2):184-189
AUCAMP, HENNIE. ‘n Brommer in die Boord (Temple Hauptfleisch) 1990, Vol. 4(2):106-111
BARROW, BRIAN & WILLIAMS-SHORT, YVONNE. Theatre Alive! (Temple Hauptfleisch) 1988,

Vol. 2(2):112-114
Bartho Smit-vertalings (Aart de Villiers) 1987, Vol. 1(2):90-93
BHARUCHA, RUSTOM. Theatre and the World: Performance and the Politics of Culture

(Dennis Schauffer) 1994, Vol. 8(1):96-99
BHEKIZIZWE, PETERSON. African Theatre and the unmaking of colonial Marginality. (Yvette

Hutchison) 2002, Vol. 16:244-247
BONNER, F, GOODMAN, L, ALLEN, R, JAMES, L & KING, C (Eds.). Imagining Women:

Cultural Representation and Gender (Mikki Flockemann) 1994, Vol. 8(1):81-83
BOSE, NEILESH. Fitting the Word to the Action: An Ethnographic Journey into Theatre

(Samantha Pienaar) 1997, Vol. 11(1&2):323-324
BOTHA, MARTIN. Jans Rautenbach. Dromer, Baanbreker en Auteur. (Edwin Hees) 2007.

Vol 21: 377 – 379
BOTHA, MARTIN. Marginal Lives and Painful pasts. (Andre Crous) 2008. Vol. 22: 201 – 203.
BRINK, ANDRE P. Aspekte van die Nuwe Drama (Temple Hauptfleisch) 1987, Vol. 1(2):87-89
BURT, RAMSAY. Alien Bodies: Representations of Modernity, ‘Race’ and Nation in early

Modern Dance (Samantha Pienaar) 1998, Vol. 12(1&2):262-265

CLOETE, T T. Onderhoud met ‘n Bobbejaan (Johann van Heerden) 1988, Vol. 2(1):78-80
CONTEH-MORGAN, JOHN. Theatre and Drama in Francophone Africa (Yvette Hutchison)

1997, Vol. 11(1&2):290-292
COPLAN, DAVID B. In Township Tonight! South Africa’s Black City Music and Theatre (Lisa

Lazarus) 1987, Vol. 1(1):136-137
COX, M. (ed.) Who wrote that? A Dictionary of writers and their works. (Edwin Hees) 2002, Vol.

16:248-250
CUBITT, SEAN. Timeshift: On video culture (Lesley Marx) 1991, Vol. 5(1):117-123
DAVIS, PETER. In Darkets Hollywood: Exploring the Jungles of Cinema’s South Africa (Edwin

Hees) 1996, Vol. 10(2):176-179
DE KOCK, LOCHNER. HTLV-3 (Herman Pretorius) 1989, Vol. 3(1):91-94
DE WET, REZA Trits: Mis, Mirakel, Drif (Walter Köppe) 1994, Vol. 8(1):91-93
DE WET, REZA. Diepe Grond (Johann van Heerden) 1988, Vol. 2(1):81-84
DE WET, REZA. Drie Susters Twee (Ian Ferguson) 1997, Vol. 11(1&2):313-321
DE WET, REZA. Vrystaat-trilogie (Temple Hauptfleisch) 1992, Vol. 6(1):85-87
DOBSON, M & WELLS, S. (eds.) The Oxford companion to Shakespeare. (Edwin Hees)

2002, Vol 16:248-250
DOWNS, DAVID. The Actor’s Eye: Seeing and Being Seen (Shirley Johnston) 1997, Vol.

11(1&2):293-297
DU TOIT, P J. Amateurtoneel in Suid-Afrika (Eunice Malan & Herman Pretorius) 1990, Vol.

4(1):172-177
DUNTON, CHRIS. Nigerian Theatre in English: A Critical Bibliography (Eckard Breitinger) Bass

50 SATJ 1999, Vol. 13(1&2):209-213
DURBAND, ALLAN. Shakespeare Made Easy (Annette L Combrink) 1987, Vol. 1(1):125-129
DYER, RICHARD. Now You See It: Studies on Lesbian and Gay Film (Francois Tredoux) 1991,

Vol. 5(1):124-126
EPSKAMP, KEES. Learning by Performing Arts: From Indigenous to Endogenous Cultural

Development (Yvette Hutchison) 1994, Vol. 8(1):84-87
FARDON, R & FURNISS, G. (eds.) African Broadcast cultures. Radio in Transition. (Eben

Cruywagen) 2002, Vol. 16:230-240
FLETCHER, JILL. The Story of South African Theatre 1780 – 1930 (Edwin Hees) 1995, Vol.

9(1):113-118
FOULKES, RICHARD. Church and Stage in Victorian England (Edwin Hees) 1998, Vol.

12(1&2):230-236
FOURIE, CORLIA. Leuens (Salomi Louw), 1988, Vol. 2(1):67-69
FOURIE, CORLIA. Moeders en Dogters (Salomi Louw), 1988, Vol. 2(1):70-71
FOURIE, PIETER J. Aspects of film and television communication (Lesley Marx) 1990, Vol.

4(1):159-167
FOURIE, PIETER. Ek, Anna van Wyk (H P Coller) 1988, Vol. 2(1):75-77
FOURIE, PIETER. Donderdag se Mense (Temple Hauptfleisch) 1990, Vol. 4(2):106-111
FRANK, MARION. AIDS Education Through Theatre: Case Studies from Uganda (Adam

Haupt) 1997, Vol. 11(1&2):309-312
FUGARD, ATHOL. (Stephen Gray, ed.) My Children! My Africa! And selected shorter plays (Ian

Steadman) 1991, Vol. 5(2):111-112
FUGARD, FUGARD. Township Plays; Port Elizabeth Plays; Interior Plays (Yvette Hutchison)

2000, Vol. 14:225-229
GOOSEN, JEANNE. Drie Eenakters: Kombuis Blues, Kopstukke en ‘n Koffer in die Kas

(Temple Hauptfleisch) 1993, Vol. 7(2):132-134
GOVENDER, KUBESHNI. Exploring Text and Con-text: A semiotic analysis of Ordinary

People: The Peacemakers (television review) 1996, Vol. 10(2):193-199
GOVENDER, SURIA. Interculturalism and South African Indian Fusion Dance (Samantha

Pienaar) 1997, Vol. 11(1&2):322

GUNNER, LIZ. Politics and Performance: Theatre, Poetry and Song in Southern Africa (Yvette
Hutchison) 1996, Vol. 10(1):125-126

GRAY, STEPHEN. (ed.). South African Plays (Temple Hauptfleisch) 1996, Vol. 10(1):115-119
HARTNOLL, PHYLLIS (ed.). The Concise Oxford Companion to the Theatre (Temple

Hauptfleisch) 1987, Vol. 1(2):94-95
HAUPTFLEISCH, TEMPLE & STEADMAN, IAN (eds.). South African Theatre. Four plays and

an introduction (Keyan Tomaselli) 1987, Vol. 1(1):142-146
HAUPTFLEISCH, TEMPLE & TOWNSEND, TED. Players – A Collection of One-act Plays

(Walter Greyvenstein) 1989, Vol. 3(1):103-104
HAUPTFLEISCH, TEMPLE (ed.). The Breytie Book – A collection of articles on South African

theatre (Stephen Gray) 1987, Vol. 1(2):96-97
HAUPTFLEISCH, TEMPLE. André (M C A Seyffert) 1988, Vol. 2(1):85-87
HAUPTFLEISCH, TEMPLE. Categories and Cultural Continuums: A response to ‘Theatre and

Society in South Africa’ (Miki Flockemann) 1998, Vol. 12(1&2):244-252
HUTCHISON, YVETTE & OMOTOSO, KOLE (eds.). Open Spaces: Six Contemporary Plays

from Africa (Temple Hauptfleisch; Mervyn McMurtry) 1996, Vol. 10(1):115-119; 119-124
JAMES, DEBORAH. Songs of the women migrants: Performance and identity in South Africa.

(Samantha Pienaar) 2002, Vol. 16:228-229
JUNCTION AVENUE THEATRE COMPANY. Sophiatown (Yvonne Banning) 1989, Vol. 3(1):95-

102
KANI, JOHN (ed.). More Market Plays (Temple Hauptfleisch) 1996, Vol. 10(1):115-119
KAVANAGH, ROBERT MSHENGU. Making People’s Theatre (Mark Fleishman) 1998, Vol.

12(1&2):253-256
KAVANAGH, ROBERT. Theatre and Cultural Struggle in South Africa (Temple Hauptfleisch)

1987, Vol. 1(1):138-141
KERR, DAVID. Dance, Media Entertainment & Popular Theatre in South East Africa (Eben

Cruywagen) Bass 50 SATJ 1999, Vol. 13(1&2):197-202
KEURIS, MARISA. The Play: A Manual (Edwin Hees) 1997, Vol. 11(1&2):305-308
KING, BRUCE. Derek Walcott and West Indian Drama – Not only a Playwright but a Company

(Eckard Breitinger) Bass 50 SATJ 1999, Vol. 13(1&2):209-213
KRUGER, LOREN. The Drama of South Africa. Plays, Pageants and Publics since 1910

(Edwin Hees) 2001, Vol. 15:192-194
KRUGER, MARIE. Puppetry, A Guide for Beginners (Jill Fletcher) 1990, Vol. 4(2):114.
LANGLEY, STEPHEN. Theatre Management and Production in America (Johan Esterhuizen)

1993, Vol. 7(2):135-136
LARLHAM, PETER. Black Theatre, Dance and Ritual in South Africa (Lisa Lazarus) 1987, Vol.

1(1):133-135
LOOMBA, ANIA & ORKIN, MARTIN (Eds.). Post-Colonial Shakespeares (Edwin Hees) Bass 50

SATJ 1999, Vol. 13(1&2):202-205
MALAN, ROBIN. The Distance Remains and Other Plays (Mervyn McMurtry) 1996, Vol.

10(1):119-124
MALAN, ROBIN. The Distance Remains and Other Plays (Temple Hauptfleisch) 1996, Vol.

10(1):115-119
MBULI, MZWAKHE. The People’s Poet (video) (Maureen Eke & Keyan Tomaselli) 1992, Vol.

6(2):95-96
MDA, ZAKES. Fools, Bells and the Habit of eating: three Satires. (Ralph Goodman) 2002, Vol.

16:241-243
NAIDOO, MUTUAL & SCHAUFFER, DENNIS. Indic Theatre Monograph Series, No. 1 and 2

(Temple Hauptfleisch) 1994, Vol. 8(1):88-90
NATANIËL, Dancing with John (Johan Esterhuizen) 1993, Vol. 7(2):134-135
OLANIYAN, TEJUMOLA. Scars of Conquest/Masks of Resistance: The invention of cultural

identities in African, African-American and Caribbean Drama (Yvette Hutchison) 1996, Vol.
10(1):126-129

OPPERMAN, DEON. Môre is ‘n Lang Dag (L B Odendaal) 1988, Vol. 2(1):88-89
OPPERMAN, DEON. Stille Nag (Temple Hauptfleisch) 1990, Vol. 4(2):106-111
ORKIN, MARTIN. Drama and the South African State (Dennis Schauffer) 1992, Vol. 6(1):82-84
ORKIN, MARTIN. Shakespeare against Apartheid (Temple Hauptfleisch) 1988, Vol. 2(2):115-

119
People’s College Comics (Tessa Welch) 1988, Vol. 2(2):119-124
PERKINS, KATHY A. Black South African Women: An Anthology of Plays (Yvette Hutchison)

Bass 50 SATJ 1999, Vol. 13(1&2):206-209
PLASTOW, JANE. African Theatre and Politics. The Evolution of Theatre in Ethiopia, Tanzania

and Zimbabwe. A Comparative Study (Eckard Breitinger) Bass 50 SATJ 1999, Vol.
13(1&2):209-213
PRETORIUS, RENA. Oog en Spel – Opstelle oor die Drama (Arnold Blumer) 1989, Vol.
3(1):105-107
READ, JOHN. Athol Fugard. A Bibliography (Temple Hauptfleisch) 1992, Vol. 6(2):93-94
REYNEKE, EUNICE. Introduction to Book Reviews Vol. 2(1):64-66
RICHARDS, SANDRA L. Ancient Songs Set Ablaze. The Theatre of Femi Osofisan (Eckard
Breitinger) Bass 50 SATJ 1999, Vol. 13(1&2):209-213
ROBERT L ERENSTEIN (ed.), Theatre and Television (Temple Hauptfleisch) 1991, Vol.
5(1):127-131
ROSENSTONE, ROBERT A. Visions of the Past: The Challenge of Film to Our Idea of History
(Edwin Hees) 1996, Vol. 10(2):181-185
SCHACH, LEONARD. The Flag is Flying: A Very Personal History of Theatre in the Old South
Africa (Temple Hauptfleisch) 1998, Vol. 12(1&2):257-261
SCHOLTZ, PIETER. Plays for Young Africa, Volumes 1 and 2 (Yvette Hutchison) 1995, Vol.
9(1):126-128
SCHOLTZ, PIETER. The “Tambootie Plays” (Marie Kruger) 1995, Vol. 9(1):118-126
SCHWARTZ, PAT. The Best of Company – The story of Johannesburg’s Market Theatre
(Edwin Hees) 1990, Vol. 4(1):167-171
SCOTT, S. & DELAHUNTY, P. Playabout – Ten One-act Plays (Yvette Hutchison) 1991, Vol.
5(2):113-115
SERPIERI, ALESSANDRO. On the Language of Drama (Louise Viljoen) 1991, Vol. 5(2):104-
107
SHER, ANTONY & DORAN, GREGORY. Woza Shakespeare! Titus Andronicus in South Africa
(Edwin Hees) 1997, Vol. 11(1&2):298-304
SLABOLEPSZY, PAUL. Mooi Street and Other Moves (Edwin Hees) 1995, Vol. 9(1):113-118
Songololo: Voices of Change (video) (Maureen Eke & Keyan Tomaselli) 1992, Vol. 6(2):96-98
TERRY, PADDY & KOTZE, HERMAN Playwrights and Human Rights (Walter Greyvenstein)
1994, Vol. 8(1):93-96
TIFFEN, HELEN. Five Eums to the King of Siam: Environment and Empire. Cross/Cultures 92.
(Yvette Hutchison). 2008. Vol. 22: 212 – 213.
TOMASELLI, KEYAN. Issues of visual ethnomusicology: Chopi music of Mozambique (film
review) 1996, Vol. 10(2):155-160
TOMASELLI, KEYAN, G. Encountering Modernity: Twentieth Century South African Cinemas.
(Michael Eckardt). 2007. Vol. 21:380 – 381.
TUCKER, PERCY. Just the Ticket! – My 50 Years in Show Business (George Claassen) 1998,
Vol. 12(1&2):237-243
VAN STRAATEN, A S. Die Aand van die Fynproewer (J P Smuts) 1993, Vol. 7(2):136-139
VAN STRAATEN, A S. Die Potlooddief en die Engel (H P Coller) 1988, Vol. 2(1):72-74
VINEBERG, STEVE. Method Actors: Three Generations of an American Acting Style (Thomas
H Arthur) 1991, Vol. 5(2):108-110
VINEYARD, MISSY. How you stand, how you move, how you live: Learning the Alexander
Technique to explore your mind-body connection and achieve self-mastery (Marth Munro).
2007. Vol 21:373-376.

VON KOTZE, ASTID. Organise and Act (Arnold Blumer) 1990, Vol. 4(2):112-113
WEDEKIND, FRANK. (Gerhard Hey, ed.) Diary of an Erotic Life (Hennie Aucamp) 1994, Vol.

8(2):191-198
WEIDEMANN, GEORGE. Alles op die spel (Temple Hauptfleisch) 1992, Vol. 6(1):88-90

PLAYTEXTS
BREYTENBACH, BREYTEN. Johnny Cockroach. 2002, Vol. 16:252-304
COETZEE, GREIG. White Men with Weapons. 2001, Vol. 15:206-228
DE WET, REZA. Concealment. 2004, Vol. 18:293-345.
DIKE, FATIMA. Streetwalking and Company. 2000, Vol. 14:231-279
ELLENBOGEN, NICOLAS. Growing up in Gravelotte. 2008, Vol. 22: 225 – 258.
FUGARD, ATHOL. The Abbess. 2006, Vol. 20: 339 – 375.
ONOVOH, PAUL OYEMA. Ebubedike – a drama in five acts. Bass 50 SATJ 1999, Vol.

13(1&2):121-165
UYS, PIETER-DIRK. No Space on Long Street. 1997, Vol. 11(1&2):326-362
WARNER, BASIL. Try for White. 2003, Vol. 17:284-371

LISTS
BIBLIOGRAPHIES & PUBLISHED ARTICLES:
Publications on South African theatre: 1986 (Yolande Roux & Elma Young) 1987, Vol. 1(2):98-

102
A bibliography of South African theatre: 1987 – 1988 (Temple Hauptfleisch, Yolande du Preez &

Yvette Hutchison) 1989, Vol. 3(1):81-4
Publications on South African theatre: 1988. A select Bibliography (Yolande du Preez) 1989,

Vol. 3(2):141-144
A bibliography of articles on South African theatre: 1989 (Felicity Grové) 1990, Vol. 4(2):118-

120
Articles published in South Africa on theatre, 1990 – 1991 (Yvette Hutchison) 1993, Vol.
7(2):140-144
Articles published in South Africa on theatre and drama in 1993 (Yvette Hutchison) 1995, Vol.

9(1):111-112
Articles published in South Africa on theatre and drama in 1994 (Yvette Hutchison) 1996, Vol.

10(1):113-114
THESES AND DISSERTATIONS ON THE PERFORMING ARTS:
South African studies completed in 1986 (Elma Young) 1987, Vol. 1(2):103-4
South African studies completed in 1987 (Yolande Roux) 1988, Vol. 2(2):110
South African studies completed in 1988 (Yolande du Preez) 1989, Vol. 3(2):140