Research

  • Fleishman, Mark. “Remembering in the Postcolony: Refiguring the Past with Theatre.” (2012). PhD Thesis, University of Cape Town. Available at: http://uctscholar.uct.ac.za/PDF/67174_Fleishman,%20M.pdf
  • Fleishman, M. (2012). The difference of performance as research. Theatre Research International, 37(01), 28-37.
  • Fleishman, M. (2011). Cargo: Staging Slavery at the Cape. Contemporary Theatre Review, 21(1), 8-19.
  • Fleishman, M. (2011). ‘For a Little Road It Is Not. For It Is a Great Road; It Is Long’: Performing Heritage for Development in the Cape. In: Jackson, A and Kidd, J., Performing Heritage. Manchester: Manchester University Press, 234-248.
  • Fleishman, M. (2009). Knowing performance: performance as knowledge paradigm for Africa. SATJ: South African Theatre Journal, 23, 116-136.
  • Fleishman, M., & Davids, N. (2007). Moving Theatre: An exploration of the place of theatre in the process of memorialising District Six through an examination of Magnet Theatre’s production Onnest’bo. South African Theatre Journal, 21(1), 149-165.
  • Fleishman, M. (2005). ‘Stories like the wind’: recontextualising/Xam narratives for contemporary audiences. SATJ: South African Theatre Journal, 19, p-43.
  • Fleishman, M. (2001). Unspeaking the centre: emergent trends in South African theatre in the 1990s. Culture in the New South Africa: Volume Two–After Apartheid. Edited by Robert Kriger and Abebe Zegeye. Roggebaai: Kwela.(91-115).
  • Fleishman, M. (1997). Physical images in the South African theatre. South African Theatre Journal, 11(1), 199-214.
  • Fleishman, M. (1990). Workshop theatre as oppositional form. South African Theatre Journal, 4(1), 88-118.
  • Reznek, J. (2012). Moving Ideas about Moving Bodies: Teaching Physical Theatre as a Response to Violence and the Violated Body. MA dissertation, University of Cape Town. Available at: http://uctscholar.uct.ac.za/PDF/67175_Reznek,%20J.pdf
  • Mbothwe, M. (2008). An African Dream Play – Isivuno Sama Phupha: reconstructing the spirit of ubuntu in the contemporary urban ‘village’ through theatre. Available at: https://open.uct.ac.za/handle/11427/8164

Research about Magnet by others

  • Morris, G. (2014). Remembering the home you never knew. Rural traces in contemporary urban township performances. South African Theatre Journal, (ahead-of-print), 1-11.
  • Johnson, D. (2012). Representations of Cape Slavery in South African Literature. History Compass, 10(8), 549-561.
  • Flockemann, M., Cornelius, J., & Phillips, J. (2012). Grahamstown 2012: theatres of belonging, longing and counting the bullets. South African Theatre Journal, 26(2), 218-226.
  • Flockemann, M. (2010). Experiments in freedom: explorations of identity in new South African drama: Playing with freedom. Scrutiny2: Issues in English Studies in Southern Africa, 15(2), 70-73.
  • Flockemann, M. (2011). Facing the Stranger in the Mirror: Staged complicities in recent South African performances. South African Theatre Journal, 25(2), 129-141.
  • Flockemann, M. (2002). Translations, affirmations, inventions and subversions: Grahamstown 2002: report. SATJ: South African Theatre Journal, 16, p-198.
  • Kruger, L. (2012). From the Cape of Good Hope: South African Drama and Performance in the Age of Globalization. Theatre Journal, 64(1), 119-127.
  • Kruger, L. (2008). National Arts Festival (review). Theatre Journal, 60(1), 117-120.
  • Lewis, M. (2010). South Africa’s National Arts Festival (review). Theatre Journal, 62(2), 275-280.
  • Lewis, M. (2008). Past, Present, and Future: A Tense South Africa Performs. PAJ 89, 30(2), 93-101.
  • Halligey, A. (2005). Re-inventing mythologies: arguments towards cultural identity in Medea and Rain in a Dead Man’s Footprints. SATJ: South African Theatre Journal, 19, p-208.
  • Blumberg, M. (2009). South African theatre beyond 2000: Theatricalising the unspeakable. Current Writing: Text and Reception in Southern Africa, 21(1-2), 238-260.
  • Krueger, A. (2012). The implacable grandeur of the stranger: ruminations on fear and familiarity in Die Vreemdeling. South African Theatre Journal, 26(3), 303-310.
  • Sichel, A. (2010). Grappling with South African Physical Theatre: report. SATJ: South African Theatre Journal: Movement and Physical Theatre in South Africa: Special Edition, 24, 41-50.
  • Stathaki, A. (2007). A report on the 2007 Grahamstown National Arts festival: report. SATJ: South African Theatre Journal: Dramatic Learning Spaces: Special Issue, 21, 362-367.
  • Francis, K. (2006). Theatre of struggle and transformation: A critical investigation into the power of oral traditions as used by director Mark Fleishman. SATJ: South African Theatre Journal, 20, 102-127.
  • Jonker, J. D. (2004). Making culture public: author, authority intellectual property in the living archive: Session 4: public participation and access. South African Museums Association Bulletin: Democratising museums and heritage ten years on, 30, 45-50.
  • Rudakoff, J. (2004). Somewhere, Over the Rainbow: White-Female-Canadian Dramaturge in Cape Town. TDR/The Drama Review, 48(1), 126-163.
  • Neuschäfer, P. (2008). The Divergence between Artistic and Academic Dissemination of Oral History: Beyond the Archive–From the Spoken Word through Performance to Moving Images. South African Historical Journal, 60(2), 195-208
  • Cox, E. (2012). Victimhood, Hope and the Refugee Narrative: Affective Dialectics in Magnet Theatre’s Every Year, Every Day, I Am Walking. Theatre Research International, 37(02), 118-133.
  • Stathaki, A. (2009). Adaptation and Performance of Greek Drama in Post-apartheid South Africa. PhD Thesis, University of Toronto. Available at: https://tspace.library.utoronto.ca/bitstream/1807/19235/6/Stathaki_Aktina_200911_PhD_Thesis.pdf
  • Daya, S. (2011). Performing place, mobility and identity in South Africa. Area, 43(4), 488-494.
  • Flockemann, M., Ngara, K., Roberts, W., & Castle, A. (2010). The everyday experience of xenophobia: performing The Crossing from Zimbabwe to South Africa. Critical Arts: A Journal of South-North Cultural Studies, 24(2), 245-259.
  • van Zyl Smit, B. (2010). Orestes and the Truth and Reconciliation Commission. Classical Receptions Journal, 2(1), 114-135.
  • Frost, A., & Yarrow, R. (2007). Improvisation in drama (2nd ed.). Basingstoke; New York: Palgrave Macmillan.
  • Van Weyenberg, A. (2013). 3: Staging Transition:-the Oresteia in Post-Apartheid South Africa. Cross/Cultures, (165), 91.
  • Van Weyenberg, A. (2011). Staging Transition: The Oresteia in Post-Apartheid South Africa. Thamyris/Intersecting: Place, Sex and Race, 23(1), 69-90. Available at: http://dare.uva.nl/document/2/113362
  • Steinmeyer, E. (2007). Post-Apartheid Electra: In the City of Paradise. In Hardwick, L. and Gillespie, C. (eds.), Classics in Post-Colonial Worlds, Oxford: Oxfod Universiyt Press, 102-18.
  • Hardwick, L. (2004). Translating words, translating cultures. London: Duckworth.