The life and work of Yvonne Bryceland: an arts-based investigation Alison Reneé Hofer Dissertation presented for the degree of Doctor of Philosophy (Theatre and Performance Studies) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr S. Prigge-Pienaar March 2017 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: March 2017 Alison Renée Hofer Copyright © 2017 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za Abstract This dissertation spotlights South African actress and theatre practitioner Yvonne Bryceland, who earned respect and admiration during her lifetime but has largely been marginalised in South African theatre history. Chapter One addresses the motivations and methods for the study, offering an explanation of my context as an artistic researcher/educator. A brief biography of Bryceland is provided followed by a description of the extensive process of gathering information from a variety of sources, including personal communications and interviews with friends, colleagues and family members, as well as archival material and documented footage of staged and filmed performances. The various approaches taken in discussing Bryceland’s quality of acting are explained, and reasons for how and why new discoveries and adaptations were made during the research process. In Chapter Two, Bryceland’s life story is captured and distilled in an arts-based research artefact, Dancing with Darkness. The screenplay as heuristic was used to reveal Bryceland as the central character in a dramatic period of South African theatre history. From this focal point, further discussion about Bryceland is offered exploring three distinct, but overlapping, aspects, namely: the extraordinary quality of her acting work; her collaborations with well-known playwright Athol Fugard; and her establishment, with Fugard and her husband Brian Astbury, of The Space as a radically alternative theatre. Chapter Three discusses how the quality of Bryceland’s acting work often led colleagues and audiences to describe her performances in words that capture a sense of magic and awe. In attempting to describe Bryceland’s acting techniques and position her as an exemplary South African actress, this chapter reveals how the discussion was broadened and deepened to incorporate metaphysical notions for which the Spanish concept of duende was applied and adapted as a potent symbol for Bryceland’s artistry. Together with Fugard, Bryceland contributed some outstanding plays to South Africa theatre history, which offer traces of the country’s social and political evolution from the 1970s to 1990s. Chapter Three explores the intensity of the artistic symbiosis between Bryceland and Fugard, and their focus on their theatre art as a means to express truth. Chapter Four describes what led to the establishment of The Space theatre by Bryceland, Fugard and Astbury; to what extent the theatre work being done at The Space was different; and Bryceland’s determination that the theatre remain open to casts and audiences of all races. This chapter in particular reveals The Space as a veritable hothouse for new talent, providing well-known actors, writers and directors their first opportunities in theatre practice, as well as serving as a catalyst for the establishment of similar theatres in South Africa. The concluding chapter highlights the significant impact that Bryceland has had on the nature and voice of South African theatre, by her contributions to the philosophy and practice of diverse practitioners, and as such positions Bryceland as deserving consideration as one of the key figures in South African theatre history. 2 Stellenbosch University https://scholar.sun.ac.za Abstrak Hierdie proefskrif plaas die Suid-Afrikaanse aktrise en teaterpraktisyn, Yvonne Bryceland, onder die soeklig. Hoewel sy respek en bewondering gedurende haar leeftyd ontvang het, is sy grotendeels in die Suid-Afrikaanse teatergeskiedenis gemarginaliseer. Hoofstuk Een fokus op die motivering en metodes vir die studie, en bied ‘n verduideliking van my konteks as ‘n artistieke navorser/opvoedkundige aan. ‘n Kort biografie van Bryceland word verskaf, gevolg deur ‘n beskrywing van die lang en moeilike proses van inligtingsinsameling vanaf ‘n verskeidenheid van bronne, insluitend persoonlike kommunikasie en onderhoude met vriende, kollegas en familielede, asook argiefmateriaal en gedokumenteerde rekords van verhoog- en filmoptredes. Die verskillende benaderings om Bryceland se kwaliteit van toneelspel te beskryf, met verklarings oor hoe en waarom die navorsingsproses nuwe prosesse en aanpassings genoop het, word verduidelik. In Hoofstuk Twee word Bryceland se biografiese besonderhede en lewensverhaal saamgevat en in ‘n draaiboek as kunsgebaseerde navorsingsartefak, Dancing with Darkness, vasgevang. Die draaiboek is as eksploratiewe ondersoek gebruik om Bryceland as die sentrale karakter in ‘n dramatiese tydperk van die Suid-Afrikaanse teatergeskiedenis te onthul. Vanaf hierdie sentrale fokuspunt word verdere bespreking oor Bryceland aangebied, wat drie onafhanklike maar oorvleuelende aspekte van haar lewe eksploreer: die uitstaande kwaliteit van haar toneelwerk; haar samewerking met die bekende toneelskrywer, Athol Fugard; en haar geselskap met Fugard, en haar man, Brian Astbury, van The Space, as radikaal-alternatiewe teater. Hoofstuk Drie ondersoek hoe die kwaliteit van Bryceland se verhoogwerk ander kollegas en gehore dikwels geïnspireer het om haar optredes in woorde van ‘magiese verwondering’ te omskryf. Ten einde Bryceland se toneeltegnieke te beskryf en haar as uitstaande Suid Afrikaanse aktrise te posisioneer, onthul hierdie hoofstuk hoe die bespreking verbreed en verdiep is om metafisiese gedagtes in te sluit waarvoor die Spaanse konsep, duende, as kragtige simbool vir Bryceland se begaafdheid gebruik en aangepas is. Bryceland het saam met Fugard van die mees uitstaande toneelstukke tot die Suid-Afrikaanse teater-geskiedenis bygedra, wat ook residu van die land se sosiale en politieke evolusie van die 1970s tot die 1990s demonstreer. Hoofstuk Vier ondersoek onder meer die intensiteit van die artistieke simbiose tussen Bryceland en Fugard, en hulle fokus op teaterkuns as ‘n middel om die waarheid uit te druk. Hoofstuk Vyf beskryf wat aanleiding gegee het in die vestiging van The Space teater deur Bryceland, Fugard en Astbury; tot watter mate die teaterwerk wat by The Space gedoen was, verskillend was; en Bryceland se verbetenheid dat die teater oop moes wees vir spelers en gehore van alle rasse. Dié hoofstuk openbaar The Space as ‘n wesenlike kweekhuis vir nuwe talent, wat vir sommige bekende akteurs, skrywers en regisseurs hul eerste geleenthede in teaterpraktyk gegee het, terwyl dit ook as ‘n katalisator vir die vestiging van soortgelyke teaters in Suid-Afrika gedien het. 3 Stellenbosch University https://scholar.sun.ac.za Die slot hoofstuk aksentueer die feit dat Bryceland ‘n betekenisvolle impak op die aard en stem van Suid- Afrikaanse teater gehad het wat bygedra het tot die filosofie en praktyk van diverse spesialiste en kundiges, en as sulks dat Bryceland erkenning as een van die sleutelfigure in die Suid-Afrikaanse teatergeskiedenis verdien. 4 Stellenbosch University https://scholar.sun.ac.za Acknowledgements I would like to thank The University of Stellenbosch Drama Department and Professor (Emeritus) Temple Hauptfleisch who granted me support to embark on this voyage, and trusted that I would bring home cargo of value. To Professor Edwin Hees for his guidance during the first years of searching and discovery. I would also like to acknowledge and thank Stellenbosch University Post-Graduate Funding Office, Rhodene Amos and the staff who helped me secure the 2014 Harry Crossley Bursary which enabled me to continue my work. I would like to acknowledge and thank the contributors to this work who I met en route and who took the time to share important new gems of information with me: Yvonne Bryceland’s family: her husband Brian Astbury for sharing his photographs and information about The Space theatre; her daughter Colleen King for sharing personal memories with me; Pam Le Roux (neé Heilbuth) for her valuable e-mails; Mick Wallis; Derryn Heilbuth and Bruce Heilbuth for contributing their poignant stories. To Athol Fugard for his time, ideas and his truth. My appreciation also goes to Bryceland’s colleagues who were willing to share their recollections, in particular: Ross Devenish; Keith Grenville; Geraldine Aron; Bobbie Fitchen, Sybil Sands; Phillip Hinton; Wilson Dunster; Val Donald; Pieter-Dirk Uys and Paul Slabolepszy. To my dear friends, including Dr Elsabe Pepler, my thanks for support when the sea was rough. Claire Wrogeman who helped me track down key subjects to speak to, and Paula Harker for her smooth sailing assistance with transcripts. My gratitude also goes to the librarians who helped me find treasures in the deepest caves: The National English Literary Museum; Maxine Arvin of the Baxter Theatre archives and the Stellenbosch University Library. To my father Walter, my anchor of support and encouragement. My mother Sophia, who loved boats and history, and now flies overhead with the angels, whispering strength and love into every day. Patrick, for his joyfully painted letters from home. Julian, for calm waters of patience, and for filling my days with music, coffee and kindness. With my whole heart I would like to thank my three children, Julian, Fynn and Saskia - you are my constant North Star, the wind that fills my sails, and I love our life voyage together. On my map you are my found treasure. And most importantly, to my supervisor Dr Samantha Prigge-Pienaar. No thanks is enough to the lighthouse keeper who guided me safely back to shore. With the steadiest of hands holding the compass, constant dedication and brightest of spotlights, you guided into the harbour this heavily loaded ship, helped me unload my cargo, polish the treasures in the chests, and present my discoveries. 5 Stellenbosch University https://scholar.sun.ac.za Contents Declaration ........................................................................................................................................................ 1 Abstract ............................................................................................................................................................. 2 Abstrak .............................................................................................................................................................. 3 Acknowledgements ........................................................................................................................................... 5 Chapter One: Introduction ................................................................................................................................ 8 Screenplay Dancing with Darkness as a heuristic ....................................................................................... 19 Chapter Two: Screenplay - Dancing with Darkness ......................................................................................... 25 Synopsis ...................................................................................................................................................... 25 Glossary of terms ...................................................................................................................................... 124 Chapter Three: Acting technique and duende - Yvonne Bryceland’s dance with darkness .......................... 132 Positioning Bryceland’s acting within the domains of acting theories and philosophies ......................... 133 Beyond technique: psychological risks and processes during exceptional performance ......................... 137 Synthesis of skill and purpose: examples of Bryceland’s preparation and performances ........................ 139 Considering the philosophical realm of acting: applying the concept of Lorca’s duende to Bryceland’s work .......................................................................................................................................................... 143 The Matador and Bull’s dance with death: working within the pivotal and dangerous actor and character interface .................................................................................................................................................... 152 Acting as a form of metaphysical communication: seeking human understanding and truth ................. 154 Chapter Four: The Working Relationship of Bryceland and Fugard .............................................................. 164 Historical Background: Bryceland before her work with Fugard .............................................................. 168 Bryceland’s reasons for acting .................................................................................................................. 172 Bryceland’s vision for theatre as shared by Fugard, and their work as truth ........................................... 174 Fugard’s view of actors, and how he works with them ............................................................................. 176 Statements After an Arrest Under the Immorality Act (1972) as an example of Bryceland workshopping a play with Fugard ........................................................................................................................................ 181 Bryceland’s challenges in working with Fugard ........................................................................................ 184 In summary ............................................................................................................................................... 186 Chapter Five: The birth and evolution of The Space as representative of Bryceland’s values and practises 188 6 Stellenbosch University https://scholar.sun.ac.za The forgotten theatre trailblazer .............................................................................................................. 188 How Bryceland and Fugard operated before The Space ........................................................................... 191 Astbury secures a building for The Space ................................................................................................. 199 Bryceland’s acting focus at The Space ...................................................................................................... 204 Aims and Artistic Policy as reflections of Bryceland’s approach to theatre .............................................. 207 Long-term effects of The Space ................................................................................................................ 211 The socio-political atmosphere and risks of working at The Space .......................................................... 214 In summary ............................................................................................................................................... 218 Chapter Six: Conclusion ................................................................................................................................ 220 Bibliography .................................................................................................................................................. 231 Addendum A: examples of AQAS as applied to Bryceland’s acting .............................................................. 243 Addendum B: photographs of Yvonne Bryceland ......................................................................................... 246 Addendum C: excerpt of transcribed interview (2011) between Athol Fugard and Alison Hofer ................ 251 Addendum D: artist’s rendition of Duende and process work...................................................................... 253 Addendum E: in Bryceland’s own words ....................................................................................................... 255 Addendum F: Bond’s tribute to Bryceland .................................................................................................... 256 7 Stellenbosch University https://scholar.sun.ac.za Chapter One: Introduction This dissertation will discuss the contribution made by South African actress Yvonne Bryceland (18 November 1925 –13 January 1992) to South African theatre history. Bryceland was born in Cape Town, South Africa, the youngest member of the modest but creative Heilbuth family. By 1978 Bryceland was based in London, and over the next fourteen years before her passing away, acted in top theatre arenas and went on to win multiple international awards and earn the informal title of the ‘leading lady of South African theatre’ (Thomson, 1992a). The central hypothesis of this dissertation is that Bryceland’s impact on South African theatre was so significant that it changed the profile of our theatre today. South African playwright Athol Fugard has called Bryceland the leading interpreter of his work1, and stated that she and theatre director Barney Simon (13 April 1932 – 30 June 1995) had the biggest impact on him; and yet while Fugard and his plays have been the subjects of international study, and Simon has been well documented in South African theatre history, Bryceland has been almost forgotten. When I began this study on Bryceland, in 2008, it was quickly apparent that there is barely anything written about her. There are no biographies or books in which she features substantially. Scant on-line information is available, and that which is, is frequently missing information or contradictory. Bryceland has been marginalized2 in South African history books, and her role as a theatre practitioner who had a major impact on South African theatre history has been largely ignored. Fugard called it scandalous that she has not been granted more recognition as a theatre pioneer in South Africa. There is support from practitioners for recognizing and remembering Bryceland as more than an actress. In private correspondence actor Pieter Dirk Uys has stated “We must not forget!” (2011); and Fugard has written “Thank you for turning your 1 Fugard stated this when trying to get the Actors’ Equity of the United States to allow Bryceland to play Miss Helen in Fugard’s Road to Mecca in 1985 (Freedman, 1985). 2 This is written purposefully as Bryceland is literally mentioned in a margin of South African High School Textbooks (Ciro, Hardie, Guhrs, Sesiu, Singh & Watson, 2014:199). 8 Stellenbosch University https://scholar.sun.ac.za attention to Yvonne” (Fugard e-mail correspondence, 2011)3. This dissertation offers new insight and perspectives on the person and her work, and proposes to engage practitioners and readers in consideration of the significance of an individual that has otherwise been passed over by history. Part of the challenge of this work has been to gather existing information on Bryceland, as well as to investigate and offer new information. This was done, sometimes with great difficulty, to offer a detailed discussion about this historical and enigmatic theatre figure for the first time. One of the main reasons for granting recognition to Bryceland is the fact that she was primarily a highly respected and successful actress who won international awards for her work4, as will be discussed further in Chapter Four. Distinguished playwright and director Edward Bond wrote a tribute for Bryceland’s memorial service, in this he described her as “the greatest living actress”, and said that although many actors have great stage presence he had seen “such raw, open power so mysteriously and authoritatively displayed by only one other actor...Laurence Olivier5” (Bond, 1992). She remains an inspiration for theatre practitioners who are operating in South Africa and abroad. Besides Fugard, who credits her with making him the writer he is (Fugard, 2011b), a few examples of the many actors and directors that have been inspired by Bryceland include: Irish playwright Geraldine Aron; actor, author and activist Pieter-Dirk Uys; Denise Newman; and Casting Director Digby Young6 who says he is still looking for an actor who comes close to Bryceland (Young, private conversation, 2016). Another key reason for such remembrance can be found in the fact that together with Athol Fugard and her husband Brian Astbury, Bryceland established The Space in Cape Town in 1972. This was the first non- segregated theatre to operate in South Africa, and did so in open defiance of the laws of apartheid, under 3 The interviews conducted with Fugard for the purpose of this dissertation have been transcribed, and material that is on record will be stored at Stellenbosch University Drama Department; however, for ethical reasons, some of the material of this study must remain in sole possession of the author and will not be made available in the public domain. 4 Examples include: South African Fleur du Cap Theatre Awards (1966, 1969 and 1973); Three Leaf Award (1967) and Vita Award. In England: The Laurence Olivier Award for Best Actress (1985) (and a nomination in 1978). In the United States: an Obie (1988) and the Theatre World Best Actress award (1988). 5 Laurence Olivier (1907-1989) is widely regarded as one of the best stage actors of his time. 6 Digby Young (together with Christa Schamberger-Young) auditions top actors across the country for major international Feature Films and Television series shooting in South Africa. 9