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Go-itata ritualised theatre performance modes of koma aesthetics in a performance as research production: Wela.
Lewis, Janine Ngobeni, Gifter
Lewis, Janine
Ngobeni, Gifter
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Abstract
The body speaks. embodiment has always been the essence of communication in african theatre and ritual. rituals are the wellspring of interpreting universal features of human behaviour and underpinning the theatrical. Yet theatre makers grapple with showcasing explicit ritual as performance. ritual remains exquisitely different from theatre, and if moved from its original place and intent, it loses its integrity and purpose. postdramatic performers have (re)embraced that their bodies can be used as a tool that can “speak” and offer new ways of interpreting ritual aesthetics. through a methodology of ukuzilanda this article describes the performance as research approach with the emphasis on postdramatic practices where embodying is celebrated as the main modality conveying messages in performance. this paper discusses the process undertaken to present ritual elements from the south african baPedi male initiation in an aesthetic performance titled Wela (2021). Wela is a pedi term which means “to cross-over” – this offers relevance both to the koma ritual it is representing as well as to the presentation of aesthetics of ritual through postdramatic interpretations. Further, an approach coined as Go-itata embraces the (re)conceptual discussion of ritualised theatre that embraces the elements of embodied commentary, intent, and expressive narrative in the conceptual and staging processes. this paper
offers Go-itata ritualised theatre performance modes to explore the (re)conceptual presentation of ritual aesthetics for the stage.
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Date
2024-11-06
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Taylor and Francis Group, Routledge, UNISA Press.
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lewis 1.pdf
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Keywords
Physical theatre, African performance, Ritual, Embodied commentary, Intent, Expressive narrative
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Attribution-NonCommercial-ShareAlike 4.0 International