Teksmark 2019: Diverse nuwe skrywers, relevante tekste en innemende dialoog

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Kunste Onbeperk se vierde Teksmark, met die ondersteuning van die Nasionale Afrikaanse Teater-inisiatief (NATi) en die Baxter-teatersentrum, is vroeër vanjaar aangebied en het weer eens bewys dat Suid-Afrika geen tekort aan talentvolle teatermakers het nie. Diverse nuwe skrywers, relevante tekste en innemende dialoog was aan die orde van die dag.

Teksmark is ’n geleentheid vir skrywers om hul selfgeskrewe tekste aan rolspelers in die bedryf aan te bied met die doel om befondsing te kry om hul toneelstuk uiteindelik op die planke te bring.

Die feeste en vervaardigers wat die Teksmark bygewoon het, besin dus na afloop van die geleentheid oor watter van die produksies vir verdere ontwikkeling oorweeg kan word. Die Klein Karoo Nasionale Kunstefees vind weer van 23 tot 29 Maart 2020 in Oudtshoorn plaas, waar ’n teks of twee van Teksmark moontlik op die planke sal wees.

“Die terugvoer wat ons ontvang het, is oorweldigend. Die algemene gevoel is dat die skrywers vanjaar tekste gelewer het met baie meer diepte en wat hedendaagse kwessies op ’n kreatiewe wyse aanspreek,” sê Hugo Theart, artistieke direkteur van Kunste Onbeperk.

“Ons is bly dat ons saam met ons vennote kan help om ’n platform te skep waar jong, relevante stemme vir die bedryf ontwikkel kan word.”

Hugo Theart

Die volgende skrywers se werk was ingesluit:

Herschelle Benjamin (Aghulhasvlakte), Stephanie Burnett, Ayden Kruger, Megan Meyer, Jaime Montgomery en Lezanne Steenkamp (Draft Five), Wilken Calitz en Shaun Oelf  (Karatara), Beyers de Vos (Roosmaryn), Zac Fleishman (Fresh meat), Andrico Goosen (But, Baby I love you), Robert Hindley, Preston Hugo, Alistair Seymour, Tora Turner en William Vermaak (BallBox), Veronique Jephtas (My kroon se krank), Wentzel Lombard (Bring vir my die kindertjies), Thukelo Maka (The boy of the mountain), Rafiek Mammon (Marry-Go-Round), Wessel Pretorius (Valskermstories), Philip Rademeyer (MaanSonde), Lwanda Sindaphi (I will teach you how to share the milk), Bibi Slippers (Al my vriende se dooie honde) en Caitlin Wiggle (A prayer group called Water Wings).

Wat die skrywers oor hulle toneelstukke te sê het:


Alistair Seymour oor Ballbox (in samewerking met Preston Hugo, Robert Hindley, Tora Turner en William Vermaak): “Masculinity has been left to be too powerful and unknown. We set out to discover and play with what it meant to be masculine. The play was inspired by our current socio-political climate around gender violence as we see it as an opportunity for us to experiment with what it means to be a ‘man’ and where we have missed the mark as a society.”

But, Baby I love you

Andrico Goosen oor But, Baby I love you: “This is a play about juxtapositions – an old boxer of colour still fighting to make a living and trying to keep the flame alive and a young Afrikaner who is standing in as coach for his Pa. What started as a play aiming to address toxic masculinity shaped itself into a play about two generations of two races delivering punches at one another as they try to shake off the past. This past manifesting itself indirectly through the character of Pa, a representation of the past, and something I as a millennial am still trying to come to terms with to find my voice amidst an ever changing political arena.

“I wrote the play really because I had to keep on working when there was no work and I want to see other artists work as well. We need to write new plays so that we can give one another opportunities and that we can add to the amazing literary voices which came before us in South Africa. I am also deeply inspired by the work of the Market Theatre and draw inspiration from it. I grew up in Joburg and this fast-paced environment is known to deliver great boxers, such as Baby Jake Matlatla to whom the title of the play also refers and to whom I looked up as a young boy. I suppose he provided hope. Often, we might view boxing only as two individuals throwing punches at each other, when at the core of it, boxing is about immense discipline and respect. I chose boxing as a means to an end because of this dual nature. I suspect that in South Africa, a sport-loving country, this duality could be an effective means to tackle the inequality which remains unremedied due to our history not being wholly and justly dismantled.”

Draft Five

Ayden Kruger oor Draft Five (in samewerking met Jaime Montgomery, Lezanne Steenkamp en Stephanie Burnett): “Draft Five is a sketch comedy depicting problematic gender stereotypes that has woven themselves into the fabric of our society. All our sketches are inspired by events that have actually happened to either ourselves or people we know. The humour lies in the familiarity of the events, but that is also what makes them unsettling and disturbing.”


Beyers de Vos oor Roosmaryn: Roosmaryn is ’n ‘gyselaar-komedie’ oor ’n vrou op soek na wraak vir ’n misdaad wat 25 jaar gelede teen haar gepleeg is. Sy neem twee millennials gevange in ’n poging tot vergelding. Die stuk probeer dié vraag beantwoord: Hoe is dit moontlik dat daar steeds rassiste in Suid-Afrika is? Wat presies is fout met ons?”

Al my vriende se dooie honde

Bibi Slippers oor Al my vriende se dooie honde: “Ek wou ’n stuk skryf wat ondersoek wat ons as mense by honde kan leer oor twee dinge waarmee ons nie baie goed is nie: hoe om te lewe, en hoe om dood te gaan. Ek het diep bewondering vir die wysheid van honde, en hoop om iets daarvan te ontgin en oor te dra in Melissa se storie.”

A prayer group Called Water Wings

Caitlin Wiggill oor A prayer group Called Water Wings: “This is a one-woman show about an alternative version of the world where everyone gets to meet God once and ask him one question. Maggie is in God’s waiting room, panicking and wondering what could possibly be important enough to ask the creator of the universe.

“A lot of the inspiration for the play is my own anxiety and experience as a young woman living in a world full of questions and absurdity. Ultimately it’s a comedic take on a lot of serious issues facing young people, especially in terms of mental health.”


Herschelle John Benjamin oor Agulhasvlakte: Agulhasvlakte handel oor twee susters wat grootgeraak het op Agullhasvlakte, ’n biodiversiteitsbrandpunt. Die ouer suster is ’n bloemis wat hul ouerhuis geërf het en die jonger sussie is ’n sosiale-media influencer wat terugkeer van die stad. Die stuk kyk na hulle verhouding en wat hulle te make staan met al hoe meer veldblomme op Agulhasvlakte wat op die rand van uitwissing staan. My inspirasie was om te kyk na klimaatsverandering en geestesgesondheid, wat twee belangrike kwessies is vir talle jongmense, en om te sien hoe affekteer dit twee spesifieke jongmense van ’n spesiale gebied in Suid-Afrika.”

I will teach you how to share the milk

Lwanda Sindaphi oor I will teach you how to share the milk: “The play is about the mystery of black and white kids sharing a mother whose identity is always viewed within a domesticated framework. It is about shared black motherhood. I was inspired by Mies Julie and Born in the RSA, but then I had to draw from personal experiences and reconceptualise the narrative and look at the story through my own lens.”


Philip Rademeyer oor MaanSonde: “MaanSonde handel oor familiegeheime wat oor die verloop van ’n naweek onthul word. ’n Jong vrou trou en haar vervreemde tweelingbroer keer na jare terug na die familie se plaas, en sy verskyning veroorsaak probleme vir die familie. Dit vra vrae oor die Afrikaner se plek in Suid-Afrika na 25 jaar van demokrasie, oor die grondkwessie, en handel ook oor mishandeling, liefde en bloedskande. Dis geskryf kort na twee van my ander stukke (Wild en Klippe wat val) en die inspirasie vir al drie stukke is die idee van sosiale isolasie – as mense geïsoleerd is van die samelewing, watse gedrag word genormaliseer? Wie bepaal die reëls vir gedrag en verhoudings?”


Rafiek Mammon oor Marry-Go-Round: Marry-Go-Round is a real-time marriage counselling session (of about 55 minutes) for stand-up comedian Oliver May who married journalist Alan Smith. Alan had an ‘indiscretion’, thus the reason for their six-week treatment with alternative methodologies therapist Amanda Makeba. The audience is privy to this, their third of the six sessions, with hilarious, yet truthful consequences.

“It was inspired by the fact that I really just wanted to write a comedy that pokes fun at the new-age trite we are often sold. Everyone is so serious with so many different fists in the air with issue-laden politics – each demanding to be heard – that we often forget to just be funny and that we also want our stages to reflect our wonderful senses of humour! In the modern axiom, where ‘divorce is the new marriage’ like ‘pink is the new green’ or something equally banal, we find these three characters who make some seriously funny comments about relationships and trust, sex and loyalty and all in between.”

The boy of the mountain

Thukelo Maka oor The boy of the mountain: “The play explores themes of death in black and white communities. It challenges different racial groups to evaluate their individual reaction and relationship to death.”

My kroon se krank

Veronique Jephtas oor My kroon se krank: “My kroon se krank gaan vir my oor groei en vernuwing. Dit gaan oor die eerlikheid aanspreek binne-in jouself, en ook die gesprekke wat jy so graag in die lewe wil vermy in die gesig staar.”

Bring vir my die kindertjies

Wentzel Lombard oor Bring vir my die kindertjies: “Die stuk handel oor die misbruik van onskuld en goedgelowigheid deur bose mense. My inspirasie het ontstaan uit ’n gedeelte in ’n boek oor bababoerdery, ’n verouderde en soms wrede praktyk wat in die laat 1800’s plaasgevind het.”


Wessel Pretorius oor Valskermstories: Valskermstories het onstaan uit gesprekke met Pascual Wakefield oor sy kankerstryd toe hy op universiteit was. Ek het dit as inspirasie gebruik om ’n soortgelyke reis te skep met denkbeeldige karakters.”


Wilken Calitz oor Karatara (in samewerking met Shaun Oelf): “In kort handel dit oor die brande naby Knysna in 2018. ’n Vriend van my, en ’n danser in die toneelstuk, se familie het gesterf in hierdie brande en ons takel allerlei aspekte soos die voorgeskiedenis van die area, die mense wat reeds vir duisende jare daar bly, kolonialisme en ander euwels. Ook die interpersoonlike verhoudings van diegene wat moet deal met die tragedie.”

Fresh meat

Zac Fleishman oor Fresh meat: “Fresh meat plays with themes of desire, taboos, order and dirt. It examines the city, ravenous and insatiable, where people increasingly board themselves up in their sanitised box flats, away from the dirt of the street.”

Teksmark is ’n inisiatief van Kunste Onbeperk. Vir meer inligting, besoek Kunste Onbeperk se webtuiste.

  • Foto's: Nardus Engelbrecht
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