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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Herinnering op die verhoog : performatiwiteit in David Kramer en Taliep Petersen se : geesteswetenskappe

 

Abstract

In David Kramer en Taliep Petersen se (1995) skets die hoofkarakter, Kat Diamond, sy jeugervarings as lid van die sanggroep die Cavalla Kings in Kaapstad se Distrik Ses gedurende die 1950's. Die musiekblyspel speel grootliks af in hierdie karakter se geheue en mens kry dus slegs deur geheue-opwekking toegang tot die vertelde leefwêreld. Hierdie kunsgreep het 'n bepaalde parallel in die ontstaansgeskiedenis van die stuk, aangesien dit deels gebaseer is op die herinneringe van Salie Daniels, 'n sanger afkomstig uit Distrik Ses wat die rol van Kat Diamond in die oorspronklike produksie vertolk het. Ander gegewens is weer ontleen aan die leefwêreld van ander sangers afkomstig uit Distrik Ses. Met verwysing na die diskoers van mondelinge geskiedenis word herinnering in hierdie artikel as 'n kreatiewe en aktiewe handeling beskou - sowel 'n opvoering as 'n uitvoering, begrippe wat albei deur die enkele Engelse term performance beskryf word. So ook word as teaterstuk beskou as tegelyk 'n opvoering en 'n uitvoering. Vanweë die verweefdheid van wat agter die skerms gebeur en wat op die verhoog gebeur, word in hierdie artikel bespreek as 'n uitvoering en opvoering van die uitvoering en opvoering van herinnering. Gelees teen die agtergrond van hierdie benadering is 'n musiekblyspel wat nie gepoog het om die historiese Distrik Ses "outentiek" te weerspieël nie, maar eerder om getrou te wees aan die wese van herinnering. Verder is dit ook 'n musiekblyspel wat performatiewe implikasies verkry. In die ondersoek na performatiwiteit in word J.L. Austin se taalhandelingeteorie () ingespan, asook die vervlegte tradisies wat in reaksie daarop ontwikkel het. Deur 'n fokus op die teksfrase "Yes, today is my lucky day" word die vervloeiing van grense tussen verhoog en lewe uitgewys, en word die opvoering van gelees as 'n performatiewe aksie met spesifieke implikasies in die lewe van Daniels.


In the opening scene of the South African musical its narrator, Kat Diamond, begins to reminisce about his past. Kat is an elderly shoeshine man working in the St George's Mall in Cape Town in the year 1994. Directing his narrative impulse at one of his clients, Kat asks, "Mister, do you remember these cigarettes, Cavalla Kings?" Kick-started by this mnemonic artefact, he starts to take his audience into the past with him. Yet even before Kat can begin to tell the story of his youth, how he started a vocal harmony group in Cape Town's District Six with his friends Bingo, Ballie, Magoo and the latter's sister, Lucy, these characters appear on stage together with a younger version of Kat to help the old man tell his story. Conjured into life by him, the shades of his memory answer with a song: "Memories/ We're just your memories/ As real as you want us to be/ Only you set us free/ 'Cause we are your memories" (Kramer and Petersen 1999).
Premiered in 1995, was the fifth collaborative project of David Kramer and Taliep Petersen. It was also their biggest international success - not only was this the first South African musical performed both on Broadway and on the West End, it was also awarded two Laurence Olivier Awards, for "Best new musical" and "Best performance in a musical", awarded to the cast as a whole (De Villiers and Slabbert 2011:264, 267). charts the rise and fall of Kat's former band, The Cavalla Kings, in apartheid South Africa - in doing so also staging the difficulties facing coloured musicians during those years. As is also reflected by the musical language employed by songwriter Petersen, is rooted in the milieu of the rock 'n' roll-crazy 1950s District Six. Through its focus on this popular singing culture, also serves to broaden the musical identity that has historically been associated with District Six and underlines the fact that its mainly coloured population was formed through diverse cultural meetings and transformed through processes of creolisation.

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2015-12-01
2016-12-05
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