Chapter Layout Sample Clauses

Chapter Layout. This research comprises six chapters, including the present chapter – Chapter 1:

Chapter Layout. The thesis is comprised of four chapters excluding the introduction and conclusion. Chapter One is entitled “The South Africa State and Black Theatre.” As the title implies, this chapter compares the relationship between Black Theatre and the South African State in post-apartheid South Africa to what it used to be under apartheid. The objective is to establish whether there are any notable changes in attitude by the South African State towards Black Theatre in post-apartheid South Africa given the harassment of Black Theatre practitioners by the State under apartheid. This chapter starts with a discussion of the relationship between the State and Black Theatre under apartheid. This is compared with the relationship between the two in democratic South Africa. Chapter Two is on “Institutions of Dramatic Art” that offered training to black playwrights and consequently formed the base of Black Theatre. Furthermore, it explores whether there is any change in objectives of these institutions in post-apartheid South Africa towards blacks and Black Theatre. The Third Chapter and Fourth Chapter form the core of the thesis in the sense that they explore the issues addressed by South African black playwrights in post-apartheid South Africa. These Chapters discuss the nature of Black Theatre in this era. Chapter Three will be on plays by the older generation of South African black playwrights. The term “older generation” of South African black playwrights refers to prominent South African black playwrights like Xxxxx Xxx, Xxxxxx Xxxxxxx, Xxxxxxxx Xxxxx, Xxxxxx Xxxxxxx and Xxxxxx Xxxx. They are referred to as “older generation” in the sense that their work featured prominently under apartheid during which they addressed issues pertaining to the oppressed black masses. The purpose of this chapter is to establish issues the older generation of South African black playwrights address in post-apartheid South Africa. Gibson Kente is omitted. Xxxxx stated repeatedly that he no longer wrote plays for the stage after apartheid, but moved to concentrate on writing for television. As result, his work is not included in this research. Similarly, Xxxxx Xxxxxxx is left out. She pointed out that her involvement in theatre ended in 1992. As such she should be left out in favor of those still involved in Black Theatre. The other playwright left out is Xxxxxxxxx Xxxxxx who passed away not long after the democratization of South Africa. Xxxxxx’x family refused to have his plays given to...