The plays of C.K. Nchabeleng : a literary appraisal

Abstract

The main objective of this research is to study the plays of C.K. Nchabeleng : a literary appraisal. Nchabeleng has distinguished himself as one of the few Northern Sotho playwrights who have made an attempt to conform to the requirements of the modem play. To achieve the aim of this research, the study is approached in the following order: In chapter I aim of the study, scope and method of the research, studies on drama with special reference to the relationship between drama text and performance, a general survey of the Northern Sotho play, place and status of C.K. Nchabeleng as a playwright and conclusion are established. Chapter II is based on the Nchabeleng's characterisation which in the main tries to depict dramatic reality and that requires characters who are human. Nchabeleng's characters are believable human beings of superior aild closely matched intelligence. Nchabeleng has tried to make his characters alive. He tries to show. the qualities, actions, sayings and reactions of the people in his plays and how these cause his characters to behave as individual human beings. His characters serve the purpose for which they were created. The conform to the milieu in which they are created. Chapter Ill indicates, in broad outline, the use of dramatic time and space in Nchabeleng's ' Iwork. Chapter IV reveals Nchabeleng's dramatic language. The language in both plays flows spontaneously and, though simple and straightforward, is not lacking in beauty. Chapter V is based on the dramatic action and structure. In Nchabeleng's work, there are some phases which accumulate intensity to the climax, after which the intensity subsidies. It has acts and scenes which are organized and related. Scenes are primarily a stage device for representing change of place or lapse of time or both. They are the building blocks in the dramatic structure. Both in Sealogana and Leobu, Nchabeleng has introduced the main actors as well as their relationships to one another in the expositions. He also introduces, through words and actions, what motivates them to do what they do. In Sealogana the starting point contains a challenge as well as the threat. There is a rumour that Hunadi has been killed. On the other hand there is a rumour that Phaahle should be killed. The structure of the whole play is clearly constructed from the exposition, motoric moment, complication, climax, denouement and conclusion. Leobu is not clearly constructed. The events are not in a chronological order. Chapter VI indicates the didascalia in Nchabeleng's work. The didascalia helps to create, structure, form, and focus the textual fiction. In Nchabeleng's work, didascalia encourages the reader to imagine characters to whom actors give substance, to place them on the stage. It is a physical medium and a vehicle of action. It is a constant reminder of theatrical mimesis, of the actors, with their disguise, of their acting space, of everything that is customarily called the production. In the didascalia, Nchabeleng's stage directions are of major significance not only in establishing the necessary link between the text and the performance, but also in the reception of the text as a literary work. In the theatre, the stage directions establish the non-verbal languages and codes that function in a performance, to hierarchize them by determining the most important ones and to assure a certain relation to the verbal messages of the play. In as far as dramatic title in didascalia is concerned, it assists in guiding the audience on what the play is based on. The title Leobu indicates that the play is based on untrustworthiness. The Makoria gang are harassing the Lehutso people demanding a so called protection fee. They are an untrustworthy gang. Instead of helping the people, they harass and threaten to kill them. When it comes to Sealogana, the title refers to a girl fresh from University. It refers to the protagonist- Hunadi who has completed her studies (a law degree) from the University of Fort Hare. She is waiting to be installed as a queen of the Batau community. Phaahle is the regent. Hunadi should take over the throne of queenship from Phaahle. In didascalia, the dramatis personae in both plays Leobu and Sealogana reveal the relationship of the characters. It helps to identify and relate the different homodiegetic discourses. Didascalia endow the characters with individual speech through the name that precedes each one of their lines. Most of the names both in Leobu and Sealogana fit well in the context of the plays. Chapter Vll is based on the general conclusion of the whole research.