A minute with Zethu Dlomo

IN THEATRE OR FILM WHO IS YOUR MOTHER AND FATHER?

 I don't have a theatre/film 'mother' or 'father'. I feel that doing that would inhibit me in one way or another. It is great to work with different people of different ages and different experiences because you learn more. Caging yourself to one or two particular actors or practitioners will make you focus on just the experience they have. There's a big world out there, and many actors and drama practitioners and teachers to work with and learn from, and create beautiful work with.

WERE YOU TRAINED? WHERE?

Yes I was. I started my drama training in high school. I went to National School of Arts from grade 9 to Matric. And then continued on to study at Wits University where I completed my BA(Dramatic Arts) honours degree.

DO YOU REMEMBER THE HOUR YOU DECIDED TO BE AN ACTRESS?

Not the hour lol! But I discovered my passion in 1999 when I joined the drama club in primary school. I was in grade 5. And I enjoyed it, it seemed so natural to me, and when I found out that it can be a career, I knew exactly what I wanted to be.

TELL ME ABOUT YOUR EMBARRASSING MOMENT?

Hahaha! I don't remember embarrassing moments. I crtl-alt-delete them from my memory. Lol!

WHAT DO AUDITIONS MEAN TO YOU? AND HOW DO YOU PREPARE?

Auditions are try-outs. They not my favourite thing but they are necessary in the industry. The mistake many actors make regarding auditions is that they want to show the casting director what they think the casting director wants to see. That messes with your confidence because you end up second guessing yourself, increasing the nerves and blunder you audition. Instead give thought to your character, show them what you understand and what you think the character should be. This decreases nerves & u have more confidence in your performance. Being nervous doesn't help the situation, but nerves can be channelled into the right energy.

ANY DIFFICULTIES YOU FACED IN THIS INDUSTRY?

The greatest difficulty is when one goes on for months without work. Besides the fact that money would be an issue, it is the fact that you're not working, not being creative, not playing that drives you mad. But then again you don't have to be jobless as an actor, as long as you are a creative thinker you can create your own work.

WHAT IS YOUR FAVORITE CHARACTER YOU EVER PORTRAYED?

Every character is special in its own right. Every story is unique and to be respected individually. I've had fun with character because they are different. I've had fun even playing an extra. Each character creates a unique experience, so I can't say I've had one favourite character.

FILM OR THEATRE?

These are two very different mediums, and are both strong in their own place. There are things that film can do which theatre can't and vice versa. So I say both.

WHAT WOULD YOU SAY TO YOUNG PERFORMERS?

If you got the true passion for performing, then don't be afraid or discouraged to get an education in it. Get training. You can spot the difference between a trained and an untrained actor. Be open to learning and receiving constructive criticism. And know the difference between constructive and destructive criticism because that could be the difference between nurturing and destroying your dreams.

WHAT DO YOU HATE ABOUT YOUR WORK?

I don't hate anything about my work, coz I love what I do. Yes there are things that I don't like, like working 12 hour days everyday for 6-8 weeks, you get exhausted when working too hard. Or I don't like those moments when creative juices dry up & exhaustion takes over, not a fun space to be in. But even those moments are in their own right necessary, because work gets done. And when performing & doing what you love, you feel it, but don't really feel it. You feel me? ha ha ha.

IS IT A CAREER OR A HOBBY?
It is definitely not a hobby. This is my career.

A minute with Jolanda Spoel

In theatre who is your mother and father?

I have two fathers and one mother, David Greaves sadly he died of Malaria in Ghana, he was an English director from England, he mostly with young people, he believed in young talent. John Leerdam is also my father in theatre he gave me my first opportunity, he gave me a job which it was a big responsibility given to me he had so much trust in me, back  then in Holland black female directors were rarely scarce like in South Africa.

Where is John Leerdam now?

Now  he is in politics yet he gave me a hand to start off. Nita Lim is my mother in theatre she is a choreographer she was the partner in arts of David Greaves in a company called "Artisjok Nultwintig" we made a lot the shows together, she has worked in a show as a choreographer with Roel Twijnstra in a show called "No Kidding"

When did you develop your theatre identity?

Talent Development  is a popular word now, when I was young there was no such thing as talent development old, 16-17 years ago that word didn't really exist. I feel and know that my work has brought the idea of 'give chance and opportunity' to young people without a degree in the arts to another level. We created theatre for young audience and by youngsters, it  was in some cases made up of both amateur and professional talents.

Why did you go for the combination of amateur and professional?

There was a gap between amateur and professional in the industry, amateurs were not considered mainstream and they were not taken seriously I believe they can bring a lot to the table. I do not believe so much in high culture versus low culture. I believe in shaking things up a little, other than that I also took the colour-blind approach to castings my plays in terms of cultural diversity.

Shortly describe how your identity grew?

Iam  known for 'talent development, colour blind casting . I look also look at society things that happen around me and im socially involve.

Who did you train and influence?

80% of young cultural diverse people in theatre met me somewhere, its a rewarding feeling when someone says im their mother in theatre sometimes we are more or less the same age so they would say im their older sister in theatre, its the young people that remind me why I do this in the first place.

What was your embarrassing moment?

(laughs) wow !mmm... I have a lot, oh yeah it was during a show I co-directed with Roel Twijnstra when one point an actor dislocated his shoulder on stage, another actor slit his chin and blood was dripping everywhere it was horrible, two days later Nicole who was our PR manager who was sick that weekend didn't hear anything about what happened on the show , she decides  to send a reminder  mail  to the theatre  critic  and ask for the review, the critic review says well I thought I was not going to write it but if you insist I will. And so she did...  lets just say we had better reviews. Nicole comes to work and says I did some work while I was at home I sent an email to the reviewer to remind her for the review and her reply was weird. And I was like oh no Nicole didn't you what happened Saturday, the critic was doing us a favour by not writing one ...that was embarrassing!

What was your favourite character you created?

Characters from real  life or were alive I want to tell their story with an artistic twist.
Maya Bradaric: a teenage girl murdered by her friends. The show and her portrayal  put a smile to his friends and parents faces. The actress  who portrayed Maya was an amateur but felt and gave great justice.

Regilio Tuur: a successful boxer  with anger management problems beat his girlfriend twice almost became the Dutch version of Mike Tyson. Regilio Tuur loved the piece which at first I feared he didn't {he said I managed to portray thing the way he did,}. It was magnificently  portrayed by Raymi Sambo


Any final words?

Talent is good, lets treasure it and embrace it.

  

A minute with Zuko Nodada

In film who is your mother and father?

Harriet  Gavshon gave me a chance to direct, She is the owner of quizzical pictures. Rolie Nikiwe he discovered me literally and mentored me.

When did you develop your identity as a film director, do you remember the hour, the moment you decided to be a director ?

In 1999 I decided to be a director, I was still in DUT (Durban university of technology), when I did drama I had the impression that they were teaching film, so I studied drama and did my first directing there I directed a show called "The big boys" it came no2. 'Next level from stage to film'

What was your first film you directed? 

The secret pile.

How was the experience?

The experience was good actually it was great to be Infront of the monitor and see your work and calling 'cut' and 'action' for the first time.

Shortly can you describe how that identity grew?

Well pphheeww!!! I didn't do anything- people I worked with helped me become the Zuko Iam today, the performers,the crew,the mentors. Personally I believe working as with script supervisor helped me decide what kind of a director Iam today. I don't want to be seen or labeled as this type of a director, I'm an all rounder and I can't take credit for anything there's always that special person who helps me to grow.

What do you want to be known for?

I would like to be known for unearthing new talent, I find a new talent that is always eager to work, it's amazing how much talent we have in Mzansi.

Who did you influence and train?

I'm shooting my next film Ithala-the reunion literally with about +40 people, one of them is Wandile Magadla  

What is your favorite character you ever created ?

Winston played by Dumisane Mbebe Ithala film my latest movie best character I've seen.

Film or theatre?

I'm a film maker I can't separate the two I'm a story-teller, I'm one director who improves making film by watching theatre .

Any final words?

We still have a long way to go as black film makers. One thing I'm sure about its that its our time and we have the resources, stories, talent. I guess what will help us it's to stop looking down to our writers who are write in our languages, if you are able to read a zulu book, why not direct it as a black director.

A minute with Roel Twijnstra

 In theatre who is your mother and father?

Well, my father in theatre is Peter Brook. I was a trainee in 1974 when he worked in France on the titled"conference of the birds" he inflicted inspiring thoughts and space in his work,also my work today is inspired by him, I even wore the blue shirts trying to be like him ,"be like your father, then kill your father" to find your own voice. My mother in theatre is Viola Spolin she wrote a book called " improvisation for the theatre" it focuses on the creativity of theatre and directorial techniques for actors I was trained by her in Los Angelos even today my work has those elements on how you create an ensemble, the book is the translation of Stanislavski methods, I as a director still use her exercises and methods.

Did you kill your mother theatre (Viola Spolin)?

With mothers you don't have to kill , they continue to be an inspiration of finding ones

 voice as a director, they inspire the artist genius in me which it's still transparent in my work 

When did you develop your theatre identity and do you remember the moment and the hour you decided to be a director?

Being a director was not a decision, it just happened. When I was 10 years old I always directed shows in school from small to everything I directed my classmates, my nieces, I never had the ambition to act always wanted to create my own world,I remember when I hated to be director a show was not good and I was blamed for it I had to strike(pack) alone. Finding my own voice was when I went abroad to Russia in 1994, I was far away from my theatre mother and father, I didn't care what they were thinking anymore, I trusted my creativeness and vision.

How was the production?

I think it was good. 13 years of directing helped me to find my voice and the  show was called heartbeat. It takes time to find your voice, it can take 5-10 years I was very late.

Shortly describe how your identity grew?

It grows by working with a good strong scripts, working with writers helps immensely, when you find you are more of a director than a writer, then you have to use good writers, take time to direct a show give it time for the process of finding a concept.

Who did you train and influence?

I did inspire people, but you never know sometimes years after years, an actor comes to you and tells you that when you said that, you changed my life -I know I do inspire someone 

What was your embarrassing moment?

Embarrassing moment was my forth show, I rush to a  bookstore to get a review after the show, to my surprise the review was negative I was hurt, I cried and the actors were sad because I was embarrassed I didn't go back to the actors, actors were disappointed with me because I was not there  for them. (Laugh) still i am sad when I think about that, never leave actors alone whether in good times or bad times .

What was you favorite character you created?

What comes to mind now, maybe there were more is a show about girls trafficking in Nepal , When young girls of Himalaya were abducted and brought to Bombay, the character is Bali played by Ruby Soliman Dutch /Egyptian actress, the show starts with her facing death, in order for her to reincarnate she must talk,a vey sensitive story. Another one that comes to mind is the show I did in Russia "Heartbeat" a girl trapped in a volcano eruption found by a photographer, the photographer wants help her but the young girl tell him a story and you continue tell others and the girl dies in the volcano. Ormarhia South American Spanish name. I have a connection with girls who experience a lot of pain in life I want to tell those stories

What are your expectations?

To inspire other directors, to be playful and create theatre, I don't care so much about awards and reviews anymore they not necessary and they don't drive me anymore.

Theatre now and then?

Basically it has not changed stories are still being told,actors tell it more they find the necessity and prominence to tell and Share 

Any final words?

Check my website for more about who Iam, what I do which shows I'm directing www.roeltwijnstra.nl 

A minute with Jerry Pooe

 A minute with Jerry Pooe

 Jerry Pooe is a playwright, director, actor drama lecturer and facilitator. Born in Soweto, he went to Durban in 1987, where he went to Ohlange High School matriculated in 1990.He has a BA in Speech and Drama and Anthropology at the University of Kwazulu Natal, Durban (1995) and a Certificate of Achievement in Theatre Arts from Indiana University (1999). Between 1991-1999 he was co-ordinator of the University of Kwazulu Natal Drama Department s Community Project, served on numerous committees and community projects, and became directly involved as writer/director. Besides writing numerous aids awareness programmes and more that 20 industrial theatre and street theatre shows between 1998-2000, he also wrote and directed creative theatre works. His first play, Not Again, was created with the help of a teacher, Monde Ndandala in 1989, and was followed among others. In 1999 he founded and became the director of Eager Artists, a theatre company. I worked as an actress in two shows Madonna of Excelcior by Zakes Mda and The Famished Road by Ben Okri which he co-directed.

IN THEATRE WHO IS YOUR FATHER AND MOTHER?
In terms of what? my mother loved theatre
.
IN TERMS OF INSPIRATION.
Its very difficult to say i was inspired by so and so, im mostly inspired by situations, i was very active in politics. Gibson Kente 's plays inspired me i heard about him and saw his plays in soweto the message was so strong. Kente was never serious, he was a social commentator which made him banned.Except his play 'how long' which questions how long should a black man suffer? My stories are about social change.Kessie Govender inspired my love for theatre he insisted in perfoming to a mixed audience.

 WHEN DID YOU DEVELOP YOUR IDENTITY, DO YOU REMEMBER THE MOMENT, THE HOUR YOU DECIDED TO BE A DIRECTOR?
As a young political activist i used theatre as my voice, my mentor Ramalau Makhene played an important role in Junction Avenue Theatre Company in parktown  he really introduced me to Athol Fugard's work and Sarah Isa of Upstairs Theatre she opened my mind in the structure of writing. I write about my people, black people have rich stories and that time it was about liberation.

SHORTLY CAN YOU DESCRIBE HOW THE IDENTITY GREW?
Creating more theatre whether  good or bad, and reading, colloborating alot.

WHO INFLUENCED YOU?
Politics influenced me i read alot of H. DHLOMO, i never understood greek classics and most of the shakesperian drama i could not relate to it yet finding out that the Island was inspired by Antigone made me realise that these plots are not about black and white but universal human conflicts

ANY FINAL WORDS?
Young upcoming theatre makers should learn to know their own strenghth if you believe in an  idea fight for it to happen, DEMAND! young peolpe should start demanding to be heard. I have created a space that allows experiemental works. Wushwini arts centre is an available space bring your work, pitch your ideas and stage it, begin to network, go there demand things and  make things happen. If you a director dont think formal if you know a certain director is a having production ask to come an observe, take notes and you learn and they know you they dont forget you.
  

 

A minute with Bheki Mkhwane

Bheki Mkhwane grew up in kwamashu township, a formidable footballer growing up he watched GIbson Kente 's shows. Bheki 's background is township theatre as an actor he worked with major companies around the world, he worked together for 15 years sharing the passion for the same kind of theatre with Ellis Pearson. He is a prominent performer he can act,sing,dance, he directs, he writes,he produce, he believes in creating your own story a story that you relate too and borrow from your own experiences in and around you. I worked with him in few shows, he is an educated,philosophical, intelligent person you become inspired as actor to work with such gifted soul.

IN THEATRE WHO IS YOUR MOTHER AND FATHER?
I don't have a mother and a father in theatre, as a theatre maker 90 % of the time you borrow from your female side, I become my mother I become my father in theatre

WHEN DID YOU DEVELOP YOUR IDENTITY?
One thing you must understand an identity it becomes a fixed position and you box yourself in a corner for example if a director wants to cut your dreadlocks and you say no its my identity that's what I'm known for,then you don't allow your self to explore and become and let go. Another example critic writers labeled me as a physical actor I'm not a physical actor it's one of many things I become Iam a storyteller who uses theatre as a medium to tell my story simple as that.

DO YOU REMEMBER THE TIME THE HOUR YOU DECIDED TO BE A DIRECTOR?
People imposed an European format whereby a director directs, a write writes a producer produces an actor act for me it does not work like that,adopting positions is borrowed from the Europeans.Critics asked me after watching BORN THRU THE NOSE and SITTING AROUND THE FIRE at the playhouse what am I am I a writer,director,actor ?? I told them Iam a theatre creator while I was working with Ellis Pearson people wanted to know who is the writer and a director, Ellis and we looked at them and said we are storytellers, theatre creator.One thing you must understand is that creative is a blessing it chooses a vessel that is clean. People think theatre is easy and it's not.

WHAT WAS YOUR EMBARRASSING MOMENT?
In life or work?

WORK.
I don't have any embarrassment because to me it becomes a learning curve it becomes an experience, as a theatre creator you must burn your fingers, you must make mistakes and learn from them.

WHAT IS YOUR FAVORITE CHARACTER YOU CREATED OR PERFORMED?
I don't have a favorite character.
Have I answered all your questions ?

ANY FINAL WORDS?
Create your own works that's where you will find inspirations and I'm still waiting for your one hander.

CLOSE AND PERSONAL WITH DIRECTORS

In theatre who is your mother and father ?

When did you develop your theatre identity, do you remember the moment the hour you decided to be a director ?

Shortly can you describe how that identity grew ?

Who did you train and influence ?

What was your embarrassing moment?

What is /was your favorite character you created as an actor and director?