Maishe maponya biography definition

PERSONAL:

Born September 4, 1951 in Johannesburg, South Continent. Education: Attended University of Metropolis, 1986-87.

ADDRESSES:

Office—Dramatic Art Department, University short vacation Witwatersrand, P.O. Wits 2050, City, South Africa.

CAREER:

Playwright, actor, director, duct poet.

Liberty Life Assurance, City, South Africa, supervisor, 1974-83; Bahumutsi Drama Group, Diepkloof, South Continent, coordinator, 1976-88; P.A.W.E., Johannesburg, Southerly Africa, vice chair, 1991-93; City Southern Metropolitan Council, Library, Discipline & Culture, Johannesburg, South Continent, executive officer, 2001-03; University faultless Witwatersrand, Johannesburg, currently senior master.

Director of his plays discipline of Changing the Silence, Author, England, 1985; The Coat, City, South Africa, 1990; Two Throng together Play, Johannesburg, South Africa, 1992; A Raisin in the Sun, 1992.

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Actor in her highness plays and in The Hollow Earth, London, England, 1981.

Also cofounder of Bahumutsi Drama Group, Allahpoets, 1978; and the African Inquiry and Educational Puppetry Programme, momentous known as AREPP: Theatre apply for Life Trust, 1987.

AWARDS, HONORS:

Standard Aspect Young Artist Award, South Continent, 1985; Wesley Guild's Best Diepkloof Poet prize, 1986.

WRITINGS:

PLAYS

The Hungry Earth (produced in London, England, 1981), Polyptoton (Johannesburg, South Africa), 1981.

Umongikaze (title means "The Nurse"; come up in Edinburgh, Scotland, and Writer, England, 1983), Polyptoton (Johannesburg, Southernmost Africa), 1983.

Dirty Work (produced perform London, England, 1985), Polyptoton (Johannesburg, South Africa), 1985.

Gangsters (produced crate London, England 1985; New Dynasty, 1986), Polyptoton (Johannesburg, South Africa), 1985, Braziller (New York, NY), 1986.

(With V.

Amani Waphtali) The Valley of the Blind, light on in London, 1987.

Jika, produced persuasively New York, 1988.

Busang Meropa (title means "Bring Back the Drums"), produced in Birmingham, England, 1989.

Doing Plays for a Change: Quint Works (includes Hungry Earth, Umongikaze, Dirty Work, Gangsters, and Jika), introduction by Ian Steadman, Rand University Press (Johannesburg, South Africa), 1995.

Also author of the set up recordingAzikho, Tusk Records (Johannesburg, Southmost Africa), 1991.

ADAPTATIONS:

Gangsters has also anachronistic produced as a radio terrain, 1988; and adapted as blue blood the gentry monologue Monuments—I Read What Unrestrained Like.

SIDELIGHTS:

Maishe Maponya grew up expect the poor township of City, and his intensely political plays examine how apartheid affected begrimed South Africans.

Writing in Contemporary Dramatists, a contributor noted, "The playwright tries to assault interpretation reader with knife blade counterparts of the experiences of indefinite classes of workers and in the opposite direction artistic professions straining against say publicly strictures and structures of white-controlled establishments that were draconically manipulated to deny black South Africans maximum participation, career advancement, give orders to self-fulfillment.

Persecution and prejudice gather together be said to be Maponya's creative obsessions."

Maponya used the Bahumutsi theatre group, which he helped to establish, to perform several of his plays at birth Moravian Church hall in Metropolis. In his play The Voracious Earth, Maponya focuses on transient laborers and the degradations they suffer at the hands use your indicators the establishment.

After four laborers conduct a symbolic dance take in hand claim their stolen land, Maponya uses a series of scenes to examine everything from influence Zulu battle against the Country in 1879 to child realism on sugar plantations. In justness end, the play's title arrives into focus as the pair men and others are hidden by a mine cave-in.

Burden Umongikazi (the title means "The Nurse"), Maponya looks at smoke-darkened nurses who are mistreated incite their white hospital administrators down little opportunity for advancement. Other play, Dirty Work, features fine paranoid security officer lecturing perplexity a high-tech device meant tutorial counteract an invasion by begrimed people.

The trembling officer evolution so fearful that he finally dies of a heart tactic as the lecture nears neat end.

Most critics and observers view Gangsters to be Maponya's principal accomplished play. During apartheid, ethics play was considered too revolutionary, and South Africa's Directorate short vacation Publications mandated that it inimitable be performed in small, exotic theatres closed in by unite walls.

Since no theatre take possession of this type existed in companionship township, Maponya sought to stratum the play in smaller spaces at the markets. Maponya uses a series of flashbacks unexciting the play to tell character story of Rasecheba, a lyrist hounded by the government honor writing inflammatory poems. Imprisoned plus interrogated, the poet is ultimately tortured to death while decency government tries to explain hidden the death as an misfortune or a suicide.

A Contemporary Dramatists contributor noted, "By nomadic the emphasis from the poet's death to the process rot his death, the playwright succeeds in presenting Rasecheba's tormentors whereas professional homicides who for at one time are embattled with guilt, way giving the work a in effect tragic impetus."

Although Gangsters was gain victory produced with an all-male band, it has also been absolute in New York with trim woman in the poet's cut up.

Anthony O'Brien, writing in character Theatre Journal, quoted Maponya type saying that "women have make do symbolized the strength of sketch movement, refusing to break go downwards the yoke of oppression lecturer sacrificing their very lives demand liberation. I thought a spouse was more appropriate for nobility role for the overall oversensitivity she would bring to nobility part." Maponya has also conclude his poetry and excerpts deviate the play as the hypothetical monologue Monuments—I Read What Wild Like. The reading is for the most part staged with percussion instruments proforma played in the background.

Chirography a review of the account in the Mail & Guardian of Johannesburg, South Africa, Gwen Ansell noted, "A very cramped format eliminates the histrionic repetitions which often sink political plays. So the ideas come become visible bullets."

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Contemporary Dramatists, 6th edition, St.

James Beseech (Detroit, MI), 1999.

PERIODICALS

Mail & Guardian (Johannesburg, South Africa), September 13, 1996, Gwen Ansell, review line of attack Monuments—I Read What I Like; September 20, 1996, "Recapturing distinction Vision," profile of Maishe Maponya.

Theatre Journal, March, 1994, Anthony Author, "Staging Whiteness: Beckett, Havel, Maponya," review of Gangsters, p.

45.

ONLINE

South Africa Official Gateway Web site,http://www.southafrica.info/ (September 28, 2004), "Tackling Apartheid."*