{"id":104908,"date":"2026-10-04T18:24:34","date_gmt":"2026-10-04T16:24:34","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-krapp-se-laaste-band\/"},"modified":"2026-10-05T12:16:43","modified_gmt":"2026-10-05T10:16:43","slug":"resensie-krapp-se-laaste-band","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-krapp-se-laaste-band\/","title":{"rendered":"Resensie: Krapp se laaste band"},"content":{"rendered":"\t\t
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SPIER THEATRE<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Krapp se laaste band kort \u2019n oopspoel-bandopnemer<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Produksie: Krapp se laaste band<\/strong>
<\/strong>Deur: Marina Griebenow<\/strong>
Foto\u2019s: Verskaf<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Dis \u2019n versoeking om Krapp se laaste band<\/em> deur Samuel Beckett bloot as \u2019n toneelstuk oor veroudering, aftakeling, verlies en herinnering te beskou. Dit bevat wel al die genoemde elemente, maar hoe langer jy nadink oor die ontstaan van die stuk, hoe meer besef jy die belangwekkende rol van die oopspoel-bandopnemer self. <\/p>

Die oopspoel-bandopnemer (in Engels bekend as \u2019n reel-to-reel tape recorder) is nie net \u2019n rekwisiet of \u2019n gerieflike teatermeganisme nie. Dit was waarom Beckett die drama in die eerste plek geskryf het. Meer nog, gegewe die mate waarin dit die aksie voortstu, terugneem na die verlede of uit die vergetelheid ontruk en komplementeer, is dit seker nie te vergesog om te s\u00ea dat die bandopnemer as\u2019t ware as \u2019n byspeler geklassifiseer kan word nie. Hoe langer hy na die opname luister (en kort-kort skelm in die kombuis gaan drink), hoe meer is dit asof hy letterlik die opnemer in sy hande vertroetel. Dit stel Krapp in staat om oorkant sy eie verlede te sit en, in die stem van \u2019n ander Krapp, na die mens te luister wat hy eens was. <\/p>

Waarom Beckett Krapp se laaste band<\/em> geskryf het, is nie \u2019n geheim nie. Hy het in Desember 1957 gehoor hoe die bekende Ierse akteur Patrick Magee uittreksels uit sy werke Molloy<\/em> en From an Abandoned Work<\/em> op die BBC voorlees. Hy was mateloos be\u00efndruk met die kwaliteit en tekstuur van Magee se stem. Na sy mening het die rouheid, intimiteit en musikaliteit daarvan sy skryfwerk in die beste moontlike lig gestel. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Beckett se teks moet met die akkuraatheid van \u2019n Olimpiese duiker gelewer word. Elke frase en woord moet presies op die regte plek val om die betekenis suiwer oor te dra, anders is die gehoor verlore en jy kry hulle nie weer terug nie. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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In Januarie 1958 het Beckett, wat in Frankryk gewoon het, koers gekies na die BBC-ateljees in Parys om weer na die opnames van Magee se voorlesings te luister. Daar het hy iets te\u00ebgekom wat \u2019n onuitwisbare indruk op hom gemaak het: die menslike stem, los van die liggaam, op magnetiese band bewaar. <\/p>

Binne \u2019n japtrap het hy begin skryf, eintlik spesifiek vir Magee. Op 20 Februarie 1958 was die eerste weergawe voltooi met die werkstitel Magee Monologue<\/em>. Hy het aangehou skaaf daaraan en in die proses het die titel verander na Krapp\u2019s Last Tape<\/em>. Teen Maart was dit voltooi en Patrick Magee sou dit in Oktober van daardie jaar vir die eerste keer by die Royal Court Theatre opvoer. <\/p>

Die spoed waarmee dit gebeur het, is betekenisvol. Iets in die ontmoeting tussen Beckett, Magee se stem en die oopspoel-bandopnemer het \u2019n nuwe moontlikheid ontsluit, een wat Beckett onmiddellik herken het. Die masjien het die verlede in staat gestel om met die hede in gesprek te tree. <\/p>

In di\u00e9 kort toneelstuk van sowat 50 minute sit Krapp op sy 69ste verjaardag by sy oopspoel-bandopnemer, soos hy skynbaar elke jaar doen, en luister na opnames wat hy op die ouderdom van 39 gemaak het. Die jong Krapp se stem is vol selfvertroue, ambisie en passie. Die ou Krapp luister met \u2019n sardoniese grinnik, \u2019n minagtende frons en by tye verleentheid, maar soms tog ook met \u2019n tikkie nostalgie en berou. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Beckett was \u2019n verloopte Ier en die Iere vloek godslasterlik met die gemak waarmee ons \u2019n tjop omdraai. Dus, om die uitroep \u2018Jesus!\u2019 bloot as \u2018Jesus!\u2019 te vertaal, klink stram en gedwonge. Sou \u2018Jirre tog!\u2019 nie dieselfde mate van frustrasie of ongeduld kon verwoord nie? <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Hy stop die band. Spoel dit terug. Spoel dit vorentoe. Luister weer. Hy probeer sy eie verlede redigeer, maar hy kan dit nie beheer nie. Dit is die paradoks van die toneelstuk. Krapp beskik oor die tegnologie om sy herinneringe te manipuleer, maar kan dit nie doen met die emosies wat hulle bevat nie. Hy kan die stem van sy jonger self onderbreek, maar hy kan nie verhoed dat daardie stem dit wat verlore gegaan het weer tot lewe wek nie. Die band word dus veel meer as bloot \u2019n opname. Dit is \u2019n soort tweede self \u2013 \u2019n vroe\u00ebre bewussyn wat in klank bewaar gebly het. <\/p>

Die oopspoel-bandopnemer het iets moontlik gemaak wat vroe\u00ebre vorme van teater nie heeltemal kon doen nie. \u2019n Foto kon \u2019n gesig bewaar. \u2019n Dagboek kon \u2019n mens se gedagtes bewaar. \u2019n Brief kon handskrif en taal bewaar. Maar \u2019n bandopnemer kon die stem self bewaar. Die pouses. Die huiwerings. Die lag. Die asemhaling. Die tekstuur van \u2019n bepaalde oomblik in \u2019n mens se lewe. En jare later sou daardie stem weer presies klink soos die tydstip waarop dit opgeneem is. Die tegnologie was dus byna asof dit spesifiek geskep was vir Beckett se bemoeienis deurgaans met tyd, herinnering, identiteit, sterflikheid en verlies. <\/p>

Die stem van die akteur wat Krapp vertolk, is van kardinale belang. Die jonger Krapp verskyn nie op die verhoog nie. Hy bestaan slegs as \u2019n stem wat uit \u2019n bandopnemer gehoor kan word. En tog kan daardie stem lewendiger wees as die ou man wat langs die masjien sit. Vir \u2019n oomblik word die verlede beliggaam deur klank. Die akteur is terselfdertyd die ou man wat ons sien, die jong man wat ons hoor en die ou man se wisselende reaksie op wat hy hoor. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2019n Foto kon \u2019n gesig bewaar. \u2019n Dagboek kon \u2019n mens se gedagtes bewaar. \u2019n Brief kon handskrif en taal bewaar. Maar \u2019n bandopnemer kon die stem self bewaar. Die pouses. Die huiwerings. Die lag. Die asemhaling. Die tekstuur van \u2019n bepaalde oomblik in \u2019n mens se lewe. En jare later sou daardie stem weer presies klink soos die tydstip waarop dit opgeneem is. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Met al die bogenoemde in ag genome en nog \u2019n paar ander oorwegings ook, kom \u2019n mens tot die slotsom dat Stefan Benad\u00e9 se Afrikaanse weergawe van Beckett se drama ongelukkig nie die mas opkom nie. Hy word in die program aangedui as die persoon wat verantwoordelik was vir die vertaling, regie, ontwerp, choreografie en musiek, wat \u2019n mens laat vermoed dat di\u00e9 produksie vir hom \u2019n passieprojek is. Carel Nel het Krapp se room-wit puntskoene vol gestaan. <\/p>

Kom ons begin by die vertaling. Dis Beckett, so die taalgebruik is ho\u00ebrgraad. \u2019n Mens kon hoor dat Stefan moeite gedoen het om relatief streng en letterlik by Beckett se teks te hou, maar dit werk nie noodwendig nie. Dis nie nodig om die aksie te verplaas nie \u23af dit kan eintlik op enige plek afspeel \u23af maar dit word in Afrikaans vertaal, so dit moet idiomaties wees en die styl van die oorspronklike weerspie\u00ebl. Daar was net te veel kere wat die Afrikaans nie die brontaal se betekenis en gevoel nagevolg het nie. <\/p>

Kom ek noem \u2019n eenvoudige voorbeeld: Beckett was \u2019n verloopte Ier en die Iere vloek godslasterlik met die gemak waarmee ons \u2019n tjop omdraai. Dus, om die uitroep \u201cJesus!\u201d bloot as \u201cJesus!\u201d te vertaal, klink stram en gedwonge. Sou \u201cJirre tog!\u201d nie dieselfde mate van frustrasie of ongeduld kon verwoord nie? Dan praat ek nie eens van frases wat meer diepgang het of digterlik is, maar deur \u2019n lomp vertaling in die wiele gery word nie. Kan \u2019n mens dalk in alle liefde voorstel dat \u2019n bedrewe vertaler nadergehark word om te help? Dit sal reeds die w\u00eareld se verskil maak. <\/p>

Nog \u2019n punt van frustrasie: Beckett se teks moet met die akkuraatheid van \u2019n Olimpiese duiker gelewer word. Elke frase en woord moet presies op die regte plek val om die betekenis suiwer oor te dra, anders is die gehoor verlore en jy kry hulle nie weer terug nie. Met die eerste vertoning hier by die Toyota Stellenbosch Woordfees het selfs ek gesukkel om soms te volg en ek ken die teks baie goed. \u2019n Mens dink net aan Sylvaine Strike se produksie van Endgame<\/em>, dalk \u2019n onregverdige vergelyking, maar dit gaan oor die tegniek. Endgam<\/em>e is \u2019n ensemblestuk, wat dit eintlik moeiliker maak, maar aan die einde van die aand het elke mens in die gehoor presies geweet waaroor dit gegaan het. Jy moet die teks benader soos \u2019n dirigent \u2019n stuk musiek. <\/p>

Carel is \u2019n uitstekende akteur vir wie ek baie bewondering het. Veral sy karakterwerk is werklik uitsonderlik, maar hy is nog te jonk om di\u00e9 ou knorpot met sy koddige gewoontes oortuigend te kan speel. Hy kom so na daaraan soos d\u00eammit aan \u2019n vloekwoord, maar hy wen nog nie die prys nie. Die sleutel tot di\u00e9 vertolking l\u00ea hoofsaaklik in die stem. Gaan luister gerus na Patrick Magee of John Hurt se opnames. <\/p>

Ek het met goeie rede hierbo volledig uiteengesit waarom dit so uiters belangrik is om \u2019n oopspoel-bandopnemer te gebruik in di\u00e9 toneelstuk. Die Appel-skootrekenaar was \u2019n reuse-teleurstelling en het gemaak dat heelwat mense belangstelling verloor het. <\/p>

Ek hoop van harte dat ons julle Krapp se laaste band<\/em> eendag weer sal kan sien, maar dan met bogenoemde aspekte uitgesorteer. Dis die moeite werd om weer te probeer, want Beckett bly \u2019n meester en ons sien sy werk heeltemal te min. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Krapp se laaste band<\/strong>
4 OKT 19:00 | 5 OKT 20:0
kykNET Idasvallei Prim\u00ear<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/i> Marina Griebenow<\/p>\n","protected":false},"author":3799,"featured_media":104897,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[613,819,824],"tags":[817],"class_list":["post-104908","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-spier-theatre","category-ink-feeskoerant-2026","category-fringe","tag-woordfees-2026"],"yoast_head":"\nResensie: Krapp se laaste band - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-krapp-se-laaste-band\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: Krapp se laaste band - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"Marina Griebenow\" \/>\n<meta property=\"og:url\" content=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-krapp-se-laaste-band\/\" \/>\n<meta property=\"og:site_name\" content=\"Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/woordfees\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-04T16:24:34+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-05T10:16:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2026\/10\/INK-banner29.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"INK Redaksie\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:site\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"INK Redaksie\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/\"},\"author\":{\"name\":\"INK Redaksie\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/person\\\/4fa89144f1f64e8103a71de1d4d44c47\"},\"headline\":\"Resensie: Krapp se laaste band\",\"datePublished\":\"2026-10-04T16:24:34+00:00\",\"dateModified\":\"2026-10-05T10:16:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/\"},\"wordCount\":1536,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2026\\\/10\\\/INK-banner29.jpg\",\"keywords\":[\"Woordfees 2026\"],\"articleSection\":[\"Spier Theatre\",\"INK Feeskoerant 2026\",\"Fringe\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-feeskoerant-2026\\\/resensie-krapp-se-laaste-band\\\/\",\"name\":\"Resensie: Krapp se laaste band - 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