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LitNet Akademies Jaargang 9(2), Augustus 2012 Hierdie stollingsmoment van die smart van die twee vroue is in der waarheid ’n oproep tot herinnering. Die individuele karakters van hierdie toneelstuk word emblematies van die groter groep, naamlik die smart en lyding van alle Afrikanervroue en -kinders gedurende die Anglo-Boereoorlog. Carlson (2004:112) verwys in sy bekende werk oor die rol van die geheue/herinnering in die teater ook kortliks na die rol wat die beeldende kunste binne die teater speel om iets op te roep (sy sogenaamde “ghosted”-verwysing): [T]hrough the visual component the theatre can be placed among and can be ghosted by parallel configurations drawn from the plastic arts. The tableau vivant, in which actors onstage are positioned so as to call up the image of a well-known painting or piece of sculpture, is particularly associated with the stage conventions of the nineteenth century, but examples of it can be found in most historical periods. Hierdie toneel verskil dus van wat ons by Magrita Prinslo gevind het ten opsigte van die onderskeie taferele. Die slottablo is nie nou ’n dramatiese vooruitwysing na wat gaan gebeur nie, maar is ’n dramatiese afsluiting van die voorafgaande gebeure (die fisieke en emosionele lyding van die moeders en kinders in die konsentrasiekamp) met die afsterwe van die kind. Die slot vang dus eerstens die hartseer geskiedenis van die vroue en kinders in hierdie kamp vas deur die uitbeelding van ’n enkele gestolde moment van smart soos beleef deur hierdie drie spesifieke karakters. Die gebruik van ’n tableau vivant (die nabootsing van die beeldhouwerk) om hierdie smart konkreet uit te beeld, impliseer egter natuurlik ’n groter reikwydte as net dié gebeure wat in Celliers se drama uitgebeeld is. Die Vrouemonument, wat hierdie beeldhouwerk insluit, is opgerig ter nagedagtenis van alle Afrikanervroue en -kinders wat gedurende die Anglo-Boereoorlog in die verskillende konsentrasiekampe gesterf en gely het, en die voorstelling van hierdie beeldegroep in dié drama, roep dus weer hierdie hele verwysingsraamwerk op. Die enigste foto’s van Magrita Prinslo, asook van Heldinne van die oorlog,wat ek kon opspoor, was ’n geposeerde foto van die spelers van Magrita Prinslo, asook ’n foto van ’n tablo uit Heldinne van die oorlog (naamlik die toneel getitel “Dolf Labuschagne door de Nationale Schout van Strate verraden en ter dood veroordeelt” (Celliers 1924:30) – albei geneem tydens die inhuldiging van die Vrouemonument. 757
LitNet Akademies Jaargang 9(2), Augustus 2012 Foto 1. ’n Geposeerde foto van die spelers van Magrita Prinslo. (Foto: Speciale Uitgave van Werda, Melt Brink-versameling, Africana-afdeling, J.S. Gericke Biblioteek, Universiteit Stellenbosch.) Foto 2. ’n Tablo uit Heldinne van die oorlog: die toneel getitel “Dolf Labuschagne door de Nationale Schout van Strate verraden en ter dood veroordeelt” (Celliers 1924:30). (Foto: Speciale Uitgave van Werda, Melt Brink-versameling, Africana-afdeling, J.S. Gericke Biblioteek, Universiteit Stellenbosch.) 9. Tablo Binge (1969:26–7) verskaf in sy kort besprekings van die sogenaamde “entertainments” van hierdie tydperk (ongeveer 1898), wat as voorlopers van die latere Afrikaanse “konserte” 758
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