Abstract

This article outlines a critical analysis of two of a series of three operas that were produced by Gauteng Opera, South Africa, and presented at the Soweto Theatre in 2016 under the generic title of Cula Mzansi (which means “Sing South Africa”). The three operas were Bongani Ndodana-Breen's Hani, Peter Klatzow's Words from a Broken String, and Martin Watt's Tronkvoël, with the first two being the subject of the current analysis. The authors argue that the inclusion of indigenous themes and elements in these operas may be read as a strategic ploy that was meant to transform the operatic form and give it local cultural relevance and appeal. The purpose of the analysis was to assist current and future generations of South African theatregoers to experience some of the possible ways in which the operatic form can be transformed. This transformation is deemed necessary in order to make opera more appealing to the majority of previously disadvantaged black South Africans, notwithstanding the genre's negative historical baggage in many parts of the world where it is largely viewed as an elite form. The authors argue that the inclusion of decidedly indigenous South African cultural elements in these operas in terms of music, costume and setting allowed for the depiction of stories that could more easily relate to the majority of previously marginalised South African communities. They further argue that this strategy had the potential to localise and decolonise this cultural art form in ways deliberately meant to reach a much wider appeal in post- apartheid South Africa.

摘要

本文概述了对南非豪登省歌剧院制作的三部歌剧系列中的两部进行批判性分析，这些歌剧于 2016 年在索韦托剧院以Cula Mzansi（意为“歌唱南非”）的通用名称呈现。这三部歌剧是邦加尼·恩多达纳-布林的《哈尼》、彼得·克拉佐的《断弦之词》和马丁·瓦特的《特隆克沃尔》，前两个是当前分析的主题。作者认为，在这些歌剧中加入本土主题和元素可以被视为一种战略策略，旨在改变歌剧形式并赋予其当地文化相关性和吸引力。分析的目的是帮助当代和未来的南非观众体验一些可以改变歌剧形式的可能方式。这种转变被认为是必要的，以使歌剧对大多数以前处于不利地位的南非黑人更具吸引力，尽管在世界许多地方，歌剧在很大程度上被视为一种精英形式，但这种流派具有负面的历史包袱。作者认为，在这些歌剧中，在音乐、服装和场景方面，明显地包含了南非本土文化元素，使得故事的描述更容易与大多数以前被边缘化的南非社区产生联系。他们进一步争辩说，这种策略有可能以有意在种族隔离后的南非获得更广泛吸引力的方式使这种文化艺术形式本地化和非殖民化。