The February 2017 edition of SATMag is out!
This month we feature the BroadwayWorld Awards, a feature on SATMag award winning director Neels Clasen, a Q&A with Bo Petersen, a look at some of SA’s young theatre couples Ameera Conrad & Jacques da Silva as well as Kirsohan Naidoo and Blythe Linger. We also chat to Ismail Mahomed about the Market Theatre and look at this years Dance Umbrella progamme.
February Editor’s Note:
“I feel that artists flee from theatre because of the constant rejection and the lack of resources to realize their full potential. Up and coming artists struggle to have their work noticed resulting in a loss of faith in theatre. Producers risk and give their all to see that their companies are able to care for its artists – leaving producers empty. The eager nature in SA directors of creating high quality arts that are fearless also loose hope as theatres no longer nurture them until their are able to spread their wings as they head on off into the industry.
Young artists spring to participate in on screen acting, delivering unfinished works resulting in poor quality work as artists are not challenged as one would be on stage. Artists are faced with the choice of being mediocre on screen or to lead a life of starvation in theatre. Most artists are consumed by the ever present doubt of the reliability of theatre thus resulting in artists straying away from the stage because theatre is not looking afters it’s children…where did theatre go wrong? Why are SA artists not in favour of our local theatre scene and where is the means to care for theatre and its children?
But the fault lies not with the theatre but within the team that takes up the task in managing the theatre: theatre is only as strong as the team behind it and this is South Africa’s biggest epidemic: managerial positions in the arts are govern by individuals who have no background in the arts. And further fueling the fire is once the foundation is shaky the domino effect runs through the entire staffing of theatre. The SA government prides itself in supporting theatre by the funds it makes available; yet this is only to the benefit of the theatre itself – making it hard for new production teams to get in – because if you are unknown; no helping hand is lend. Other funds made available by the government, whereby production teams are encourage to apply also follows a corrupt road. And the government’s latest attempt in re-establishing a theatre culture by making Creative Arts and Dramatic Arts a prominent part of secondary education resulted in misfortune as the people in these positions are not specialized Arts teachers.
So is SA theatre Alive still? Ofcourse! But we as practitioners are the ones who need to keep it alive!
Vianney Henry Farmer