Doctoral Degrees (DHA)

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Browsing Doctoral Degrees (DHA) by Title

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    An analysis of policies, practices and trends in Namibian theatre in the late 20th century, with specific empasis on the work of bricks, Frederick Philander and Aldo Behrens
    (University of Namibia, 2016) Olivier-Sampson, Laurinda D.
    The study aimed to demonstrate the ways that theatre in Namibia was conceptualized, managed and performed from the mid-1980s to the turn of the century, a period spanning two distinct political dispensations: the pre-independence period of apartheid and foreign domination, and the post-independence era of democracy and a professed promotion of cultural diversity in unity. The operating assumption is that theatre always reflects a specific structure of feeling because it operates in a particular socio-political context and historic moment. In Namibia theatre was influenced by bureaucratic policies, or as appears to be the case after independence, by an apparent lack of clarity as far as a policy for the arts, and theatre in particular, was concerned. The researcher attempted to achieve the above aims by an analysis of the policies, practices and trends in Namibian theatre in the late 20th century, with specific emphasis on the work of Bricks, Frederick Philander and Aldo Behrens. The motivation for focusing on said theatre practitioners is that they were a constant presence in Namibian theatre throughout most of the period covered by the research and they represent both the formal and informal sectors. The research design was situated within an interpretivist paradigm, and employed qualitative data collection methods of interviews, questionnaires and an intensive documents’ search. This was in order to gather empirical evidence to establish the status and practice of theatre in the country; and to find out if the performances during the identified periods reflected the material reality of people in Namibia. The population was persons who, apart from those in institutionalized positions, influenced the development of theatre in Namibia during the periods that the research refers to. The research concluded that theatre in pre-independent Namibia during the time covered by this research reflected two different structures of feeling namely that of oppressor and oppressed. Performances of the theatre makers under consideration had a common theme, that of rejecting occupation and anticipating liberty. Expectations of radical improvement in the lot of informal and grassroots performers after independence did not happen which led to gradual disillusionment in government’s interest in the plight of artists. The lack of an official policy led to a lack of direction for the arts, planning seemed to lack continuity and forward thinking and the only discernible aim was the strengthening of traditional culture in an attempt at nation building. The study also found that trends in Namibia were largely echoed in other postcolonial African countries.
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    The contribution of the arts association to the theatre in the then South West Africa, 1947 - 1967
    (University of Namibia, 2018) Van Der Smit, Sussana Alletta
    This dissertation offers a comprehensive account of the origin, nature and development of theatre under the auspices of the Arts Association as a cultural activity in South West Africa as it was called until 1968. In 1947 a branch of the South African Association of Arts, a Fine Arts organisation in South Africa was established in Windhoek, South West Africa. The association organised and developed the Performing Arts in addition to the Visual Arts. The Arts Association saw theatre as a neutral area where they could foster closer mutual relationships between the different European language groups. The biggest achievement of the Arts Association was undoubtedly the sustained development of theatre in Windhoek, which culminated in the erection of the Arts Theatre (1960) and the Art Centre and Gallery (1965). The research revealed that the Arts Association practiced theatre similar to that of South Africa, e.g., the South West Africa theatre practitioners relied heavily on South African playwrights for available texts. Data for this research was gathered from the available primary sources in the archives and newspapers. The significance of this investigative research lies in the fact that this study marks a beginning in the historiography of Namibian theatre, setting up an official database for a portion of Namibian theatre history. The dissertation is a first documentation of the early historical development of theatre in South West Africa. There is information on theatre arts that needs to be addressed urgently before vital information is lost. This study can be used by the theatre students in the Department of Visual and Performing Arts and elsewhere. This dissertation intends to increase understanding, appreciation and critical perception of theatre in South West Africa. The dissertation is not meant to be a complete recording of the Namibian theatre development, but an attempt to interest other researchers to continue with the documenting of Namibia’s theatre history.