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Hierdie artikel ondersoek die verwerking van verbatim teks na verhoogbeelde deur 'n ontleding van die jeugteaterproduksie getiteld tot stof | tot stilte - 'n paniekreaksie wat deur die Hoër Meisieskool Bloemhof in 2018 opgevoer is. 'n Ondersoek word gedoen na die konvensionele skeppingsmetodologie van verbatim teater. Daar word krities gekyk na die data-insamelings-, seleksie- en redigeringsproses van die gesproke teks. Daar word tot die gevolgtrekking gekom dat die seleksie- en redigeringsproses van die gesproke data-verwerkings van verbatim teks nie noodwendig die volledige omvang van die rou data vasvang nie. Dit is veral die geval wanneer die rou data nie noodwendig toneelmatige trefkrag het wanneer dit byvoorbeeld as teaterdialoog beskou word nie. Deur gebruik te maak van Lehmann (2016) se teorieë van postdramatiese estetika argumenteer ek in hierdie artikel dat 'n verwerker die rou gesproke data na beelde kan omskep om die kontekste, inhoud en prosesse van die data-insamelingsproses vas te vang. Hierdie verwerking kan as potensieel meer "eg" beskou word omdat daar moontlik 'n breër omvang van die rou data uitgebeeld kan word, veral gegewe sekere kontekstuele beperkings (die teatermatige ervaring van die spelers, of die lengte van die toneelstuk in verhouding tot die rou data). Deur die klem van die produksie op die verhoogbeelde te plaas, word die implisiete kunsmatigheid van verbatim teater belig. Daardeur word die problematiek van lewensgetrouheid, "egtheid" en die "samestelling van egtheid" in beide die verbatim vorm en verwerkingspraktyk op 'n nuwe manier ondersoek. This article examines the adaptation of verbatim text into stage images through an analysis of the youth theatre production titled tot stof | tot stilte - 'n paniekreaksie ("to dust | to silence - a panic reaction") that was performed by Bloemhof Girls 'School in 2018. The article begins with a brief examination of the conventional methodology for creating verbatim theatre, which usually employs the so-called playbuilding kite-model (Norris 2009). This involves the formulation of a central idea, which is then explored through a data-collection phase. At a certain point during the process, the data are selected and edited to form a script. The focus of this process is usually the collection of verbal data, or data that are to be performed through speech on the stage in the form of monologues or dialogue. The article goes on to critically examine this process of adaptation and how it relates to the raw, or spoken, data. It is found that through the selection and editing process of the data, the adaptation of the verbatim text does not necessarily capture the total scope of the raw data. For example, certain fragments of data generated in the process may be of interest, but are not substantial enough in length or content to constitute an entire scene on stage. Similarly, other data may be interesting in their core idea, theme, or topic, but do not translate well to the stage as verbatim spoken text. This problem is especially present when the raw data do not necessarily have theatrical impact when viewed as dramatic dialogue, where there is usually a focus in intent, conflict, and a form of progression. Another problem that the article identifies is that in the selection and editing process, the data may be presented not just "as a version of what happened but the version of what happened" (Martin 2006:11). This may result in a verbatim piece that propagandises its own truthfulness. Using Lehmann's (2016) theories of postdramatic aesthetics, this article argues that a practitioner can also adapt raw spoken data to stage images to capture the fuller contexts, content, and processes of the data collection process. This adaptation can be considered potentially more "real" than traditional text-focused verbatim theatre because a broader scope of the raw data may be portrayed, especially given certain contextual constraints (the theatrical experience of the actors, or the length of the play in relation to the raw data). By placing the emphasis of the production on the visual images, the implicit artificiality of the verbatim form is highlighted and thereby the notion of "reality" or "realness" can be deconstructed. Indeed, the depiction of a "curated reality" of the verbatim text form can be explored in a new way by shifting focus to the visual landscape of the production. This visual dramaturgy, when viewed in relation to traditional notions of "realness" or "fidelity to the raw data" can become arguably "more real" than the spoken word because this reality is generated by the total visual-aural presentation partially through the perception of the audience. The audience becomes part of the meaning-making process because no claims to textual authority are made. "Realness" is consequently suggested instead of being stated; while claims to actuality are deconstructed. The visual landscape of the production references reality, without reporting reality. This article brings notions of fidelity in relation to adaptation theory to the fore, while artifice and the documentarian depiction of "reality" are explored. |
