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?

The beauty of theatre: Theatre is for people......

The beauty of theatre: Theatre is for people......: You might work hours and hours, days and days, months and months, years and years masering your piece of art whether its a song, poem, dance...

Theatre is for people......

You might work hours and hours, days and days, months and months, years and years masering your piece of art whether its a song, poem, dance,theatre or paintng it does not matter if people dont like it; if people dont appreciate it; if people are not behind your work,your creation won't go anywhere...you must as well stay with under the box unless its a choice. I met up with a friend in joburg she is a well known actress, actually i think she is the best one we have as our own she exhumes an amazing oresence and presence, she is beautiful on stage and she is working hard she has done well for herself, she just had a opening night for her show, for a woman of her calibre you expect a marvelous and wonderous turn up of audience but to her dimay and my shock the openning night did not do so well, mind you its not the lighting ,blocking, make-up costume or acting.BUT people did not pitch, my question is how does the audience affect the perfomance of show including behind the scenes.

I was perfoming in swaziland with  Tumelo Khoza, i expected not to have an audience becouse iam used to not having an audience surely i channelled my mind to accept the predicaments of the situation, to my surprise, we had about 50 chairs and those chairs were filled only two or three empty chairs yet it was occupied by cameras and woter bottles. My perfomance was different i felt that the stage was for the audience therefore respect is crucial, also felt that they owned what was in front of them yet it became my territory yet it becomes my solitude they boosted me to be more creative even after the show  i was being fed the energy i needed as a artist and i responded with the same energy. The audience was also perfoming with me  feeding each other energy. It was an awe moment for me, i asked my self  how did they do it to have such a turn out.

what if the audience is not there? what is the purpose of my theatre? what happens to an actor, poet, dancer, singer,painter if the audience is not there??

"Theatre is for people we do it for them,  hungry they become fuller we become"_Bandile Mkhize

THE LEVEL OF THEATRE IN MY YOUTH(FORGET JOHN KANIs AND BHEKI MKWANIs)

Theatre....it pisses me off when people disrespect your craft humiliate your calibre and what you giving. I arrive in this set of location already there are floating in woter but still they are drowning their limitations with egotistical attitudes,all i hear is a messed up behind schedule unfocused cast full of complains,and im being asked not to run away because of the problems in the show. mind you 6days left to premier and there are people reading their scripts started in rehearsals in january now its april...and iam asked not run away...i hear people saying they are professionals and they dont want to associte themselves with something that its not professional. PROFESSIONAL my left paralysed leg what is professinalism if after 3months you still unscript down??what is professionalism if we have in a rehearsal room15 directors?? what is professionalism if an actor performs on stage and there is unsopius laughter from other actors??what is professionalism if some actors are busy on their blackberries,galaxy ipad, and some still have nokia 3310??what is professionalism if you disrespect the director who do you think you are this person hired your bloody black or white ass.

i respect my craft iam Philisiwe Sithole and i was to born and raised to love and worship theatre i remember i was taught by Luke O Gomer and Debbie Lutge from courtyard theatre to respect theatre not to eat in the theatre, not to put your feet on the chairs always be aware of everything backstage, when you audition do your research,always wear black it helps,be in the moment of truth and realisticity of your character, know about aristocle, artaud, augasto baol,stanislavsky, grotovsky,brencht even though i hate him, read plays  watch plays read scripts go to workshops network.It sustains you to wake up every morning and face the hardships of unsopius industry.

iam not John Kani iam not Bheki Mkwane but iam Philisiwe Sithole, me and the others (theatre makers theatre keepers storykeepers and storytellers)we wont tolerate being disrespected and humiliated,i rather create magic in theatre unpaid  than work with "'professionals""

Theatre is my life and im here to breathe life to lifeless hungered theatre lovers,theatre is not acting, theatre is life theatre is acting reacting , theatre is distubance theatre is carthatic, theatre is invention, theatre is secretive, theatre is pretense,theatre is a stage and audience and nothing ever in between


Philisiwe Sithole.