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LitNet Akademies Jaargang 9(2), Augustus 2012 smaller die bandwydte van ’n formant, meen hulle, hoe duideliker is die hoorbare invloed van die betreffende formant op die klankkwaliteit of klankkleur daarvan (Rietveld en Van Heuven 2009:126). Dié twee perspektiewelik is natuurlik aansluitend by mekaar. ’n Gemiddeld van ongeveer 100 Hz geld waarskynlik vir die Afrikaanse vokale. 32 Hindle (1978:167) som dit helder op, in die konteks van Peterson en Barney (1952) se studie van die akoestiese eienskappe van die vokale van 76 mans, vrouens en kinders “ ...here it is essential to have a transformation (d.i. normalisasie-transformasie; DPW) that will minimize formant differences between individuals due to inherent physiological factors, but will preserve distinctions that correspond to perceptually different vowels. This need suggests a third criterion in addition to clustering and separation to evaluate normalization : namely, that a successful normalization will reveal socially significant differences. For example, in a speech community where there are perceptible differences between the vowels of young and old speakers, a situation in which change is going on, the normalization must preserve this situation. 33 Ek gebruik altyd Statistica. 34 Die persentasie van daling of styging in Hertz per sekonde. Daling word in negatiewe terme uitgedruk; styging is positief. 35 Dit is die bedoeling om hierdie inligting later volledig te publiseer. 36 Die tien parameters is in die studie waarna in eindnota xxxix verwys is: F0, F1, F2, F3, BdW F1, HGV, Totale Intensiteit, Intens BF1, Intens BF2, Duur. 743
Opsomming LitNet Akademies Jaargang 9(2), Augustus 2012 Taferele, tableaux vivants, tablo’s en die vroeë Afrikaanse drama (1850–1950) Marisa Keuris Marisa Keuris: Departement Afrikaans en Algemene Literatuurwetenskap, Unisa In hierdie artikel word aan die hand van verskeie teaterhistoriese bronne nagegaan in watter mate die tafereel, tableau vivant en ander vorme van die tablo neerslag gevind het in die vroeë Afrikaanse drama (1850–1950). Aangesien die ontstaansgeskiedenis van die vroeë Afrikaanse drama en teater ten nouste gebonde is aan die vestiging daarvan deur rederykerskamers (veral Aurora) aan die Kaap, is hierdie konvensie ook nagevolg binne hierdie konteks. Aangesien die tafereel so ’n lang geskiedenis het en reeds voorkom in die heel vroegste vorme van drama en teater (veral in die sogenaamde prosessieteater) moes daar ook met ’n wyer historiese blik na hierdie konvensie gekyk word. Die tafereel se verbintenis met die tableau vivant, asook met andere vorme van die tablo is nagevolg. Alhoewel daar in die Suid-Afrikaanse teaterhistoriese bronne min direkte verwysings na hierdie konvensie is, sou mens wel kon aflei dat die algemene voorkoms en gewildheid van hierdie konvensie (veral in die vorm van die tableau vivant)in 19de-eeuse Westerse drama en teater die Suid- Afrikaanse toneel moes beïnvloed het. So ’n siening word ondersteun deur die feit dat verskeie teatergeselskappe via die Kaap na die Ooste (onder ander Indonesië) en Australië gereis het waar hierdie konvensie ook gedurende hierdie tydperk algemeen gevind word. Binne die Suid-Afrikaanse konteks verwys ek kortliks na twee voorbeelde, naamlik die gebruik van die tafereel in S.J. du Toit se Magrita Prinslo (1896) en die voorbeeld van ’n tableau vivant in Jan F. Celliers se Heldinne van die oorlog (1913). Die onderskeid wat Meisel (1983) maak tussen tableau vivant, dramatiese tablo’s (veral algemeen gebruik in die melodrama) en ander tablo’s (veral historiese tablo’s soos te vinde in kultuurfeeste soos die “Pageant of the Union of South Africa” in 1910, asook die Groot Trek se herdenking en inwyding van die Voortrekkermonument in 1949), word ook in hierdie artikel nagevolg. Trefwoorde: tafereel; tableau vivant; tablo; teatergeskiedenis Abstract Taferele, tableaux vivants, tableau and the early Afrikaans drama (1850–1950) The focus of this article is to try and determine how the tafereel, tableau vivant and other forms of the tableau can be traced in early Afrikaans drama (1850–1950). The main theoretical framework of this study is, therefore, a theatre historical approach. Since the history of the early Afrikaans drama and theatre is closely bound up with the establishment of theatre in the Cape through the endeavours of the rhetoricians’ chambers (especially Aurora), 744
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