This is a discursive paper of Tswalo that took place at Theatre arts admin Collective, on the 26– 30 August 2017. Written and performed by Billy Langa, Directed by Mahlatsi Mokgonyana and sound design by John Withers (Theatre arts admin collective, 2017). Tswalo is a spiritual quest that gives the audiences the baton to walk through their own paradigm of ontology, Tswalo’s poetry, prose and stories furnish us with the necessary tools into a deep meditation. It undoubtedly begs the question (or theory) of being, becoming and unbecoming.
Lyrical prose, poetry and physical storytelling entwine to interrogate the rules that govern life on earth, such as power, creation, politics, connection, and intuition – the performers’ expression of his ‘source’ (Theatre arts admin collective, 2017).
This paper will discuss and analyses ways in which the elements of the Scenography, the set costume design and the lighting in Tswalo. The discussion will be based on how they are being used, what meaning did they had or represent and the effect that they had on the play. I will lastly be giving examples that will be supporting my analysis from the play.
Tswalo means Birth /Rebirth clearly is a deliberate title the writer for the piece as the most obvious message that the actor portrays is that of birth or perhaps rebirth. The actor/performer portrayal and engagement with their characters was easily convincing, maybe this was driven by Mahlatsi Mokganyana director’s choice. For the opening of