An invaluable asset to upcoming as well as
established directors. (Review by Caroline Smart)
Written by well-known Durban theatre-makers, Roel Twijnstra
and Emma Durden, Theatre Directing in
South Africa will undoubtedly provide an invaluable asset to anyone
starting off as a director in the volatile performing arts field we call
theatre!
Fronted by interviews from ten South African contemporary theatre
directors/creators, the publication looks at the process of directing
from all angles. Young directors – as well as established ones - can learn from
this wealth of theory and practice experience.
Guidance is given in the understanding of the
various genres from tragedy to comedy which, in turn, influence acting styles,
timing and movement. Then there are issues that considerably impact on South
Africa theatre-making such as storytelling, township theatre, street theatre
and site specific work.
There’s advice and clarity on workshopping as well
as dealing with actors, designers and the rehearsal process. Directing is not
just about telling a cast how to say their lines or where they are on stage
when they say them. Directors need to generate trust from their cast who, if
they are of a high standing, are putting their professional lives at risk, especially
if the relationship is a new one.
If they are to get the best out of their cast, directors
need to be mentors, counsellors, confidantes and psychologists as well as
having the capacity to calm nerves and instil confidence! At the same time, the
buck stops with the director so skills are required in terms of discipline and
professionalism.
However, while it can tend towards the academic,
the book doesn’t read like a lesson or a lecture but rather as an engaging and
interactive process. Writers and actors – and indeed, technicians – could also
benefit from this informative publication which gives a greater understanding
as to the role of a director.
There is also
a valuable section on Entrepreneurship. This is a strong buzz word in the arts
world at the moment and it is an important skill to acquire as the arts are not
self-sufficient. Therefore, an upcoming director may also be required to be an
administrator as well as a publicist.
Speaking with my director’s cap on, I was
fascinated and informed by the interviews with ten South African contemporary theatre
directors/creators who have generously shared their vision, skills and methods
These are Simthembile Prince Lamla, Mpumelelo Paul Grootboom, Greg Homann, Amy
Jeptha, Pusetso Thibedi, Lara Foot, Zinzi Princess Mhlongo, Neil Coppen, Brett
Bailey and Bheki Mkhwane.
None of us should become so entrenched in our work
that we ignore what’s happening in the world around us as this impacts both on
performers and audiences. Something that worked in the 70’s or the 80’s might
need a rethink for today’s wider audience in South Africa. While keeping the
essence of the production, one needs to be sure that its impact is felt now as
strongly as it was when it was written.
Published
by Jacana, Theatre Directing In South Africa
was made possible through generous grants from Twist Theatre Development
Projects supported by the National Lottery Distribution Trust Fund (NLDTF) and
the Embassy of the Kingdom of the Netherlands. The book is a collaboration with the drama
department of UKZN (Howard College) and UKZN- Pietermaritzburg campus.
Theatre Directing
In South Africa costs
R100 (excluding postage and packaging). To order, email info@twistprojects.co.za – Caroline Smart
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