“Dude! Wa’s My Phone?” is designed for high school students from Grade 10 to Grade 12 who are enrolled in Dramatic Arts. This age group is our main target audience, given the themes’ relatability, the cultural insights it offers, and its ability to captivate and educate a demographic highly connected to the challenges and opportunities associated with digital technology.
The play provides valuable insights and raises awareness about the consequences of smartphone addiction. Our interactive story creates an environment where young audiences are more receptive to messages encouraging a healthier balance between online and offline life.
“Dude! Wa’s My Phone?” utilizes humour, drama, and relatable situations to engage learners in a contemplative exploration of the role of technology in our lives. It delves into its impact on relationships, social consciousness, and the intricacies and absurdities that arise in the digital age. The production addresses the contemporary issue of smartphone addiction, examining the following themes:
Addiction and Dependence on Technology
Friendship and Connection
The Intersection of Comedy and Tragedy
Identity and Sense of Self
Spark Dialogue and Reflection
Miem doesn’t want to take a bath, however the bathroom inhabitants would like to convince her otherwise… Bloeb! is an object theatre performance for ages 2-6 years old. This production underlines with the CAPS theme of personal hygiene and by means of artistic magic, we would like to make this topic more magical and fun for children.
Does anyone have any idea what the impact of the pandemic of HIV and AIDS is having on our children and their family life? How does one approach this sensitive subject? Did you know that a live theatre show like, Tand’ Impilo can open up a safe space to discuss the subject and this forum can save lives?
Once Upon a Fire is a dance and story-telling production aimed at children and families. 3 Performers will delve into the treasure trove of stories from our continent and beyond and weave them together into a new story, celebrated in dance. This cross-disciplinary production combines dance, traditional storytelling, object play, vocal mis-en-scene, physical characterisation and comedy.
Witness a day in the life of Norman. Using graphic mime, vocal effects and physical clowning, “Norman” is a light-hearted, fun-filled, simple yet bizarre adventure of one man’s humble struggle against the universe which conspires to make his life difficult.
Created and performed by Richard Antrobus
Written by Clinton Marius (writer and creator of the hit comedy soapie, Lollipop Lane, and the multi-award-winning stage production The Fantastical Flea Circus), this story teaches children the valuable lessons of self-acceptance, friendship, listening to parents, eating healthily, exercising, how damaging bullying can be, and that anything is possible if you put your mind to it.
iPuppeti stars two of Lollipop Lane’s much-loved performers, Shika Budhoo (The Fantastical Flea Circus, Shika-land, Spice ‘n Stuff, Jimbo) and Mpume Mthombeni (Tin Bucket Drum, Amagamma Amathathu, Brer Rabbit & Friends, Godspell), and is directed by Clinton Marius and Dhaveshan Govender.
Non-verbal Family performance for children from 4+
Created, directed and performed by Jori Snell/ Baba Yaga Theatre
Review at NAF 2012 ‘Tonite’:
‘Kitchen Fables in a Cookie Jar is as much of an adventure… It’s a sophisticated piece of theatre-work for kids, set in a kitchen, showing us the dreams of one little girl. Assitej’s mission is to encourage the creation of good theatre for children and youth, and Kitchen Fables in a Cookie Jar fits right in with that idea.’
Those of you looking for a creative experience that is intriguing, innovative and slightly disturbing-all in one go, should look no further than award winning physical theatre performer Jori Snell, and her latest work, “Kitchen Fables in a Cookie Jar”, which captivates both young and old audiences through a delightful mix of sound, visual and movement theatre.
“Kitchen Fables in A Cookie Jar”, has a subtle similarity to Alice in Wonderland. It is about a girl’s discovery in a not quite ordinary kitchen, where kitchen tools and ingredients come alive and transform into imaginary friends, or weird, sometimes grotesque creatures of her own fantasy. It is set in the kind of magica/realistic landscapes we get to explore in our dreams.
This non-verbal family performance is theatre for the senses. It creates magical pictures of flying objects, colored lights, enchanting sounds and delicious smells. As the girl’s fantasy spins around, ordinary things are being transformed into living stories and creatures that blur the borders between fantasy and reality.
Her journeys through dreamy landscapes give way for a gradual understanding of what play and friendship can bring in times of solitude and being lost. Combining physical storytelling, dance, music and visual imagery, this performance speaks to the playful, at times cruel imagination of children and adults alike.
This piece aims at playing to children’s imaginative intelligence, creating visual and emotional landscapes, very much like in a dream, letting one association follow the other.
Coming from an intensive touring children-theatre background in Denmark, Jori Snell aspires to bring imaginative, different and cutting-edge theatre to children in various schools and informal settlements in and around Cape Town, and to collaborate with organizations such as Assitej and Theatre Arts Admin Collective, to build up a strong platform for high, qualitative children theatre in SA.
TACTICS is a collection of daring short plays written by young South African writers who have worked with The Framework.
Five short plays are performed by performers, they will play different parts, and the plays will be performed in a different order to create a completely new whole. In keeping with the Framework’s ethos, no two performances will be the same.
All the plays are multiply cast, allowing the actors to play different roles each time. Both actors and audience formulate relationships and meaning afresh at each showing. To this end, the actors have been Framework-trained, but not rehearsed, so that they have to thrash out their virgin choices before the audience.
The Framework’s team brings this new, totally edgy, intersection between text and performance in a style that demands the following of the performers: Play yourself, play the best part of yourself, don’t ever apologise and play to win.