Meetlo ya ba silafetseng dikalaneng

Moticoe, Tshepang
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Meetlo ya ba silafetseng dikalaneng is a Practice as Research study, utilizing an autoethnographic, autobiographical narrative method to research consequences. Its purpose is to realize the ways in which camouflaging may affect the actors and inhibit them from reaching their greatest potential. This research will also explore performance as a tool to uncover ‘meetlo’ which can cleanse the imprints rising out of repetitive, ritualistic theatrical processes. The concern stems from the realization that without comprehensive de-roling methods, actors are left to move forward with imprints carried over from previous processes. These may be harmful to their well-being. The study focuses on ritualistic theatrical processes that mimic real ‘meetlo’. These are practiced and performed, just as they are in real life, on stage –in the world of fiction. The actors who fail to follow the procedures required by the ‘meetlo’, leave carrying with them imprints from previous production. The aim of the research, as described in this study, is to discover ways in which actors can comprehensively de-role and be cleansed in order to un-camouflage the self thus, removing the imprints received during the ritualistic processes of theatre. It was discovered in the study that; actors do use camouflage to get by in their artistic career. This was discovered through using the four mannerism of the camouflage world and linking them comprehensively to the real world. This established that actors who mimic others while playing in ritualistic theatrical productions camouflage by concealing their own selves which causes a disruption in their well-being. It makes them portray identities from the fictional world, in their real lives, and takes them away from their true selves. They seemingly become stapled to being disguised. This investigation has proved that indeed existing ‘meetlo’ of the Basotho can comprehensively de-role actors and remove imprints taken on during ritualistic theatrical processes
A research report submitted to the Department of Drama, Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Applied Drama: Theatre in Education, Communities and Social Context