Foto van Darryl Spijkers: verskaf
Hoërskool Parel Vallei het weer eens die ATKV se Tienertoneelkompetisie gewen. Naomi Meyer praat met Darryl Spijkers, regisseur van Wegwêreld slegwêreld. Darryl beantwoord die vrae in Engels.
Darryl, ek het by vanjaar se Toyota Stellenbosch Woordfees die wenners van die ATKV-tienertoneelproduksie gaan kyk – en jy was die regisseur daarvan. Baie geluk met nog ’n waagmoedige teaterstuk wat niemand wat dit gesien het, nie nog lank sal laat nadink nie. Kyk, ek het nie verwag ek gaan aan die einde van ’n tienertoneelproduksie kwaad wees vir die einde daarvan nie! En ja: Dit was realisties. Begin asseblief voor. Vertel my van die voorloper tot Wegwêreld slegwêreld, hierdie stuk wat ek gaan kyk het – Droomwêreld.
The first production in 2023 was called Wegwêreld set in Droomland where we first meet the characters that remained in a dystopian post-apocalyptic world after a fictitious war. These people kept Afrikaans for themselves and instituted a form of slavery on the weaker members of their society. While this reflects a South African history we have seen this happen time and time again where culture purity is associated with power, fear and war. The first part followed Tomie, a boy in love and with dreams and how he escapes from Droomland with some of his people and his newfound girlfriend – the ambassador of the walled city. This plot was the main arch of the story, something classic, and what we have seen in many movies. From the moment we first staged the show the teens were abuzz with the idea that a sequel would be so cool! The open ending and not knowing what would happen next left huge mystery and hope at the end.
Part 1 was very special for us as we incorporated many theatre techniques and the response was just so good! We reinvented ourselves and gave new energy to the three festivals/competitions we took part in. I love the blend of fantasy and reality. I would love to see more Afrikaans theatre and film explore this style and these themes.
Het jy, toe jy die wenproduksie van twee jaar gelede, Droomwêreld, geskep het, geweet daar sou ’n opvolg daarvan wees? Of wat het veroorsaak dat Wegwêreld slegwêreld gebore is?
For the 2025 season I found a great cast that would work and we decided to explore this sequel. Once again the title extracted from a Karen Zoid lyric (song: “Wegwêreld”) where, near the end, she sings in a minor: “Wegwêreld, Slegwêreld, waak by my.” You do not have to have seen part 1, as part 2 stands alone and all the characters are introduced. This story follows the journey of the new girlfriend, Hanli. She does not fit in in the new world and is drawn back. This reflects many people trying to adapt to urban life, mixed cultural relationships and so on – very relevant to our youth always. We then take an Orwellian twist with politics raising a nasty head. Everything you see on stage has happened in history. With the current wars and political shifts across the world this piece stands as a warning.
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This story follows the journey of the new girlfriend, Hanli. She does not fit in in the new world and is drawn back. This reflects many people trying to adapt to urban life, mixed cultural relationships and so on – very relevant to our youth always. We then take an Orwellian twist with politics raising a nasty head. Everything you see on stage has happened in history. With the current wars and political shifts across the world this piece stands as a warning.
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By the end, amidst dead bodies from both sides, is a baby and a book containing a minor hybrid language. The question is: Will the future carry forward a culture at risk? Is language truly free when it must co-exist with 11 other official ones? How do we make all languages (and cultures) free and equal? It leaves us with a conversation. It reminds us that language is important but that some things, like connection, understanding, peace and the ability to hear someone else, are more important, but can be achieved through listening to another’s language.
The play was born from a desire not only to tell a character’s story, but to reflect the world we live in. It’s unfathomable that in 2025 we are still seeing so much warfare and hatred after learning so much from history.
Hierdie produksie pak die bul by die horings. Dit takel kaalkop omtrent elke volwasse tameletjie wat wêreldwyd aan die gang is, asook in ons eie land. Mense wat landuit wil vlug, mense wat hier bly en nie met mekaar oor die weg kom of mekaar se tale kan praat nie, mense wat net wil oorlog maak, en met die gevolge van lewensverlies en verdriet. Hoekom het jy nie ’n sprokie daarvan gemaak nie?
Audiences love the “Gekiestes” from Droomland. They love whimsical Brumulda with her quirks and costumes. As the show goes on they need to look within themselves in order to identify her as a true villain. Die irony is that we are laughing at it all, but it’s so true about our own society.
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We fear change and we fear that diversity or acceptance will water down what we believe in and the future. It’s a parody of what we see in South Africa and the world. For me it’s a powerful genre and the teenagers performing it really connected with all the aspects of the drama.
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We fear change and we fear that diversity or acceptance will water down what we believe in and the future. It’s a parody of what we see in South Africa and the world. For me it’s a powerful genre and the teenagers performing it really connected with all the aspects of the drama. Many of them loved the dancing or acting like dying soldiers – but in that they also got to learn about the futility of war and the power that hate gives so many people.
Dit was natuurlik nie sommer net ’n toneelstuk waar die gehoor agteroor kan sit en by die deur uitstap en nie voel hulle moet nou iets doen nie. As die karakters aanvang wat hulle aangevang het, dink die lede van die gehoor, of die deelnemers aan die produksie dalk: Maar wat kan ék anders doen? Wys jy vir almal eerder ’n spieël as om hulle ’n les te leer?
Every play resonates differently with anyone who is watching it. Theatre should always make people think and challenge us once we leave, sometimes long after. The ending of the play is not as hopeful as that of the previous one. It is a punch in the stomach as we realise the challenges that await the future are going to be tough. There is no easy solution. There is hurt, loss and fear. There is perhaps a glimmer of hope. My hope is that the message of language used as a gift and something that heals will linger. Too often we see language and culture weaponised and used for hate. Language is like a candle: If we do not share the light it will burn out and disappear. It all comes down to ubuntu: I am I because you are.
Dit is die sóveelste jaar dat Parel Vallei die Tienertoneel-kompetisie wen. Wat is julle geheim? Wat is die moeilikste van alles; wat is die beste? En waarom skryf julle in vir die kompetisie?
We love it! Some of my learners are third-language Afrikaans and many are second-language. They get to learn and share their passion. At our school we stand for participation and energy. Our Drama Department is a safe place for many learners where they can dance, sing, act, play an instrument and make new friends. That’s the real victory!
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We love it! Some of my learners are third-language Afrikaans and many are second-language. They get to learn and share their passion. At our school we stand for participation and energy. Our Drama Department is a safe place for many learners where they can dance, sing, act, play an instrument and make new friends. That’s the real victory!
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I have a few secrets, but they can all be summed up by the simple rule that even when challenging yourself with a new idea or genre you need to create authentic theatre. I always do my best to write plays and create an experience for the young people in front of me. I look at their passions, talents, skills and personal stories. This is how we get young people to connect, and how we develop the audiences of tomorrow! Long live toneel! Long live the arts! The ATKV provides a platform of exceptional standards and treats the schools like professionals. We have only tried to respect, maintain and lift this standard with our plays. We are blessed to win, as all top eight plays at finals were marvellous and heartfelt. I must keep teaching my learners that a victory is great, but that the industry is filled with wonderful theatremakers and that hard work is still a requirement. They must also remember that very soon they will be forgotten and that that provides the chance to start again and write something new.
Lees ook:
ATKV-Tienertoneel-persverklaring: Dreunend-dapper talent bekroon
ATKV-tienertoneel: ’n onderhoud oor Parel Vallei Hoërskool se drie benoemde toneelstukke
Persverklaring: ATKV-Toneelfinaal 2025 ’n magnetiese fees van talent!