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R80 (South Africa)

From Wikipedia, the free encyclopedia

Provincial route R80
Route information
Maintained by GDRT
Length22.6 km (14.0 mi)
Major junctions
North end M39 in Soshanguve
Major intersections N4 in Akasia
R55 in Pretoria
South end M1 in Pretoria
Location
CountrySouth Africa
Major citiesSoshanguve, Pretoria
Highway system
R76 R81

The R80 is a provincial route in the City of Tshwane Metropolitan Municipality in Gauteng, South Africa that connects the Pretoria CBD with Mabopane and Soshanguve. It is a dual carriageway freeway, with 2 or 3 lanes in each direction at different points and is named the Mabopane Highway.[1]

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  • History of South African Theater

Transcription

The following lesson is linked to Learning Outcome 2, Reading and Viewing and addresses the Assessment Standard, which requires learners to be able to recognize the socio-political and cultural backgrounds of texts. [MUSIC]. Where do you think these shots were taken? It seems to be a place where arts and culture are important. Here are some more clues. A stage, an audience, and lights. You've got it. The shots were taken at a theatre. The Market Theatre in Newtown, Johannesburg, to be exact. In this series of lessons, we'll be learning about drama. And as an example of a play, we'll be looking at extracts from James Ngcobo's play, The Suitcase, which was performed at The Market Theatre. But firstly, let's find out how drama got started in South Africa. Here are the outcomes of this lesson. [MUSIC]. By the end of this lesson, you should be able to state some of the key events in the history of South African theatre. Discuss some political an cultural influences on South African theatre. South Africa has a rich oral tradition of storytelling and the history of South African theatre also goes back a long way. In 1830, a play entitled Caatje Kekelbek or Life Among the Hottentots, was written by Andrew Geddes Bain and performed by the Grahamstown Amateur Company. And in the earlier 20th century, missionaries used drama in education. In the 20s and 30s, stage performances became an increasingly popular form of entertainment. At this time, groups such as the Methethwe Lucky Stars and the Bantu Dramatic Society made this kind of more formal theatre accessible to more people. In the 30s and 40s, South African theatre became even more popular with the emergence of Herbert Dhlomo. Herbert Dhlomo was the first black playwright to be published in English and he was the first to use the theatre to challenge colonial domination. Then, during the 50s, theatre groups like the Bareti Players and The African Music and Drama Association formed in areas where performing arts was popular such as Sophiatown. These groups were part of an exciting development in theatre that saw a range of styles and traditions being mixed together. For example, singing, dancing, humor, and jazz from American theatre were combined with English and African traditions. But as exciting as these developments were, theatre could not escape the discriminatory laws of apartheid. And so during this time, black theatre practitioners were not allowed to work in the so called, white theaters. However, this didn't mean there was no hope for black artists. In 1959, King Kong, a theatre musical, opened to maturation audiences in South Africa and went on to a successful season in London. This play helped to launch the careers of Miriam Makeba, and Todd Matshikiza. Not all white theatre practitioners were happy with segregation in theater. In the late 1950s, Athol Fugard collaborated with black intellectuals and members of union artists in Sophiatown to produce his first significant play entitled No Good Friday. This play showed what life was like in the townships and illustrated how police were often more concerned with enforcing apartheid laws rather than criminal laws. Another interesting fact about this play is that when it was performed to white audiences, Fugard, who played the only white role was replaced with a black actor because black and white actors, could not perform together. The theme of discrimination is one that Fugard continued to use in most of his later plays. Theatre practictioner, lecturer and current artistic director of the Market Theatre, Malcolm Purkey spoke to us about Athol Fugard's contribution to South African theatre. Athol Fugard is one of the most significant South African theatre makers, writers, directors and it's interesting to note that in 1960 he wrote a play called The Blood Knot. And in that play, there's a struggle, a creative struggle between two brothers. One who could pass for white and one is very, very black. And they're tied together by blood knot. And that blood knot is the condition of the South African theatre that we've been struggling with for 30 years. Over the years, since then, Fugard has made or written some absolutely remarkable plays. The one that comes to mind immediately is The Island, a beautiful reworking of one of the great Greek plays, Antigony, into a play about conditions of living on Robben Island. very much about what it means to be incarcerated on the island, very much about what it means to be free or not free. Pretty much about what it means to be involved in making theatre, with limited resources. One of the, one of the things that Fugard did in the early years of his development, is that he worked with groups in the Eastern Cape. And two major plays came out of that The Island and Sizwe Bansi Is Dead. both created with John Kani and Winston Ntshona. And Sizwe Bansi Is Dead, for example, having a renewal this year, a re-, a re-, a revival with John Kani and Winston Ntshona. And, and that play, The Island is one of the most remarkable plays. There're so many Fugard plays. It's impossible to name them all. Master Harold and the Boys, My Children My Africa!, Road to Mecca The Blood Knot. he has a remarkable productivity, which is absolutely central to South African theatre. >> Athol Fugard's contribution to South African theatre is quite amazing. But other playwrights also played an important role. During the 1950s and 1960s, a vibrant township theatre movement began to evolve. Gibson Kente was also an important player in this era. He created shows that were produced and performed by black people for a black audience that addressed issues such as love, adultery, alcoholism and crime. His productions included Manana, The Jazz Prophet, Sikalo, Can You Take It, Laduma, and Mama and the Load. By the 1970s, theatre was used more and more to voice the people's resistance to apartheid and it was during this time that protest theatre emerged. Protest theatre is the name given to theatre in South Africa during apartheid that commented on and protested against the government and the political and social state of the country. We asked Malcolm Purkey who was very involved in theatre during this time, about the role that theatre played in the struggle against apartheid. >> It's clear that South African theatre is a theatre that emerged in a very particular political and social landscape. And that landscape is about colonialism and apartheid. And, any creative artist who is worth his salt, had to engage with the questions thrown up by apartheid. And what we see in South African theatre in particular, was everywhere in all the art forms, is that you can't ignore the conditions in which we lived so that by the 60s for example, the African National Congress was banned, the Pan Africans Congress was banned, the South African Communist party had been banned 10 years before. By late 60s, the conditions of such that we get the emergence of a black consciousnesses movement driven by someone, like, Steve Bantu Biko, Bekal, and by 76 we have the Soviet uprising. And all of this, through to the state of emergency in 86, and then the transitional period from 90 to 94, influences and feeds the South African theatre. In turn, the South African theatre feeds our consciousnesses about how to struggle freedom. And in my view theatre in South Africa is much bigger than just being a protest theatre. What it really is, it's, it's a, it's a deep cultural manifestation of engagement. With the extraordinary qualities of life, difficult and brutal and fraud that we had to struggle with every day. >> Malcolm also told us about some of the highlights in theatre in the 70s. >> IF we talk about the 70s and the early 70s in particular, one of the most important things was the emergence of the space theatre in Cape Town. It was a free space, an open space, a space that deliberately, flouted the laws of apartheid. And a number of big projects emerged in the space. The Island, Sizwe Bansi Is Dead, for example, I think I had one of the earliest performances there. in the case of Workshop 71, they developed survival there. it was, it was almost as if there were certain conditions being laid down. Workshop 71 was very important in the early 70s and in my case, for example, by the mids-, by the mid-70s with something like the Soweto Uprisings influencing all our lives. Junction Avenue company emerged with a play like the The Fantastical History of a Useless Man. what was really happening, I guess in the 70's is that we were sensing the, the, the first phase of development of the language system for the theatre. So, on the one hand, we had black consciousness theatre. Drums, flutes, poetry. On the other hand, we had the strong works of Fugard emerging. in another corner, we had Workshop 71 setting out a certain kind of theatre. We also had the beginnings of the possibility that theatre would emerge in the trade union as a cultural form of struggle. >> During the 1970s, '80s and early '90s, The Market Theater in Johannesburg played a very important role in the development of South African Theatre and the South African democracy. Since the play that we are going to be examining in this series of lessons, was shot at the Market Theatre. Let's here a bit more about this theater's particular history. >> The Market Theatre is an extraordinary, occupies an extraordinary building. And it's a building that was originally designed in the great sort of spirit of the Victorian buildings. So, it's very large, it's very beautifully designed. Its quite extraordinary. Nobody would build a fruit market like this anymore, anywhere in the world. it was built in 1912. by the late 60's, it was clear that it was no longer able to function in this area. Exactly why? I'm not sure. but I think it wasn't just literally big enough for a food market anymore. So, there was a chance in the early 70's that the building was going to be knocked down. Thank goodness that certain individuals, Mannie Manim, Barney Simon among them, and certain city counselors. Even in a apartheid city council had enough long distance sight to know that they had to save the building. And if you go into the main theatre, the Market Theatre, it's so obviously a space that's like a great Shakespearean play, so like a great theatre for an amphitheatre space. >> Seeing as though The Market Theater is well known for its protest plays, we asked Malcolm Purkey if he could shed a bit more light on the topic of protest theatre. >> One of the great ideas that Athol Fugard and Barney Simon, between them put on the agenda is the notion of bearing witness. Unflinching bearing witness. It's, it's, it's not that we want to make a protest theatre. Instead, if we live in such a country as South Africa during apartheid, with all it's extraordinary brutality, difficulty and life. If we, as artists, witness that clearly and carefully, there will be an extraordinary theater that follows. And so, it's not so much that there was a passion automatically to make protest theatre. What there was, was a passion to reflect back to ourselves and to the world in which we lived the kinds of life that we would live, we were living. And so, my personal view again is that protest theatre is, is just, it's not quite the right word or the name, the right name. What we did have, it's true, and even my own company, is that we believe that theatre could tell stories that the state wanted hidden. Or tell stories about parts of our everyday lives and our everyday accents and everyday passions and everyday, everyday desires, that otherwise wouldn't be taught. And in that sense, if you do all of that, if you simply witness or you simply reflect or you engage in, in a more advanced level, ideas of the revelation of the hidden structures that keep societies going. Inevitably, you're going to get a very rich and complex theatre. And that's what happened at the market and all around the market because one of the powers of the market theatre was that it was able to enter into co-productions with a number of small companies. [UNKNOWN] Company, Junction Avenue, Workshop 71 and other companies of which there were many, many Earth players committed artists, [UNKNOWN]. it was that, which brought in the diversity of product, and this wonderful, rich range of, of extraordinary work. >> Protest theatre was an important part of the struggle against apartheid because it helped get audiences thinking about the political system in South Africa. In fact, the theatre practitioners who put on protest plays, were so committed to sharing their messages, that although many of these plays were not funded, they were produced anyway, often with many of the traditional roles such as producer, director, actor, scriptwriter being played by one person. But what about South African theatre today? Does it still play a social commentary role? What do you think? Is theatre still an important part of our social and political heritage, or is it now just about entertainment? What themes do you think theatre should focus on today? There are a number of young playwrights and directors, as well as actors, who are making their names known in South African theatre today. For example, Lesego Rampolokeng, Lara Foot Newton, Xoli Norman, Heinrich Reisenhofer and Oscar Peterson. Fiona Coyne, Marc Lottering, Nazli George, Rajesh Gopie and Mathew Ribnick to name just few. The nature of their work ranges from comedy to drama. But one thing that they have in common is the distinctly South African flavor of their performances. [SOUND] To give their performances South African flavor, a jaw from our cultures and South African experiences and use this to comment on the political and social situation. Indeed, theatre has and always will be about people and their lives. And it provides an opportunity for theatre practitioners and the audience to think about the experiences and the social, political and economic situations that they find themselves in. So, South African theatre today is no less important in representing social and cultural situations and changes than theatre was during the apartheid years. In this series of lessons, we're going to meet some of today's South African theatre talents, James Ngcobo, Siyabonga Twala,[UNKNOWN] , Mncedisi Shabangu, and John Lata, who created and performed the play The Suitcase. But right now it's time for the task. [MUSIC]. Read an Athol Fugard play, such as, Sizwe Bansi Is Dead and then answer the following questions. What was the socio-political climate in which this play was written? And would you describe the play as a protest play and if so why? [MUSIC]. I hope that through this series, you will gain insight into theatre which will make your future visits to the theater richer. We'll continue our exploration of South African Theatre in the next lesson when we go behind the scenes to see who helps make theatre happen. [MUSIC].

Route

It starts at a t-junction with the M1 road of Tshwane in the suburb of Roseville (5km north of Pretoria CBD), heading westwards and meeting the R55 road. It passes through the Theo Martins Gateway (Afrikaans:Theo Martins Poort), a mountain pass over the Magaliesberg mountains, and the northbound carriageway has a rising hairpin bend, approaching the pass, as the freeway abruptly switches from an east-west to a south–north direction.

Proceeding northwards, the R80 meets the R513 road before forming an interchange with the N4 national route (Northern Pretoria Bypass; Platinum Highway) in Akasia.

The highway proceeds northwards to meet the R566 road at an off-ramp just east of Rosslyn and proceeds to end at a junction with the M39 road of Tshwane in Soshanguve, with the M39 providing access to Mabopane (which is just west of Soshanguve).

References

  1. ^ "RDDA SOUTH AFRICAN NUMBERED ROUTE DESCRIPTION AND DESTINATION ANALYSIS". NATIONAL DEPARTMENT OF TRANSPORT. May 2012. Retrieved 25 March 2021.

External links

This page was last edited on 1 February 2024, at 15:52
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