{"id":84166,"date":"2025-10-16T16:12:21","date_gmt":"2025-10-16T14:12:21","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-seun\/"},"modified":"2025-10-16T20:43:46","modified_gmt":"2025-10-16T18:43:46","slug":"resensie-seun","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-seun\/","title":{"rendered":"Resensie: ‘Seun’"},"content":{"rendered":"\t\t
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SPIER TONEEL<\/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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Wat die seun \u2019n man gemaak het <\/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: Seun<\/strong>
Deur: Marina Griebenow<\/strong>
Foto\u2019s: Jeremeo Le Cordeur<\/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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Hy skryf oor doodgewone mense, oor sy lewensreise op soek na die waarheid en na sin \u2013 en d\u00edt het van Dana Snyman<\/span> volksbesit gemaak. In die eenmanstuk Seun l\u00ea hy sy siel bloot en deel dinge wat hom tot in sy diepste wese geraak het. Marina Griebenow<\/span> meen die stuk s\u00ea vir ons baie oor mans. <\/h5>\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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Dana se boek Seun <\/em>is biografies van aard. Hy l\u00ea as \u2019t ware sy siel bloot en deel dinge wat hom tot in sy diepste wese geraak het. In Seun<\/em> praat hy vir die eerste keer oor sy oneervolle ontslag uit die weermag, probleme met sy geestesgesondheid, die taai verhouding met sy pa en die landspolitiek, sy meestal onsuksesvolle soeke na romantiese liefde, en hoe moeilik dit is om groot te word in \u2019n land en tyd wat jou nie ware volwassenheid gun nie en waar jy vir altyd \u2019n seun bly. <\/p>

Left Foot Productions het dadelik raakgesien dat Seun<\/em> potensiaal het om suksesvol in \u2019n toneelstuk omskep te word. N\u00e1 sy briljante verwerking van Mark Behr se roman Die reuk van appels<\/g> word Johann Smith weer genader, di\u00e9 slag vir die verwerking van Seun<\/g>. Hulle kon kwalik \u2019n beter persoon gekies het. <\/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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Johann se verwerking van Dana se prosa is teatermatig, respekvol en getrou aan die weerlose, introspektiewe toon van die oorspronklike. Hy sny tot by die kern van Dana se ervarings deur die fokus te plaas op die eenvoud van eerlike taal en rou herinnering. Dana se gereelde onderonsie met die storie oor die walvis wat vir Jona ingesluk het, span Johann knap in as \u2019n verlengde metafoor wat vir die gehoor deurgaans as punt van herkenning dien. Sodra dit opduik, voel dit amper asof die gehoor saam verligting ervaar, of \u2019n openbaring. <\/p>

Hy skep egter ook genoeg ruimte vir stilte en vir wat onges\u00ea bly, sonder om afbreuk te doen aan die emosionele impak van die gebeure. Kortweg, hy laat die gehoor ervaar hoe die menslike geheue werk. Tog beweeg dit verby blote herinnering en word dit \u2019n meditasie oor manlikheid, stilte, die genade en erbarming van liefde, die sondes van die vaders en wonde wat nie altyd sigbaar is 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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Die gebruik van wit plastieksoldaatjies is een van die aangrypendste elemente in die produksie. Hulle simboliseer die oorgang van kinderlike onskuld na volwasse geweld, en herinner aan hoe jong mans van daardie era gevorm en vervorm is deur ideologie en oorlog.<\/span><\/h4>\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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Johann se sensitiewe verwerking, Nico Scheepers se ragfyn en deurdagte regie en ontwerp, en Wilhelm van der Walt se verbysterende spel vorm saam \u2019n produksie wat diep in die siel vasskop en nie laat los nie. Dit laat jou met dieselfde gevoel as die boek: jy wil Seun aan die hand vat en hom gerusstel dat alles op die ou einde ten goede sal meewerk. <\/p>

Nico se regie is lig dog ferm, en hoewel sy ontwerp minimalisties is, is dit tog emosioneel ryk. Hy skep \u2019n verhoogruimte waarin geheue en hede ineenvloei. Hy gebruik net twee meubelstukke as dekor: \u2019n stoel en tafel, albei blou geverf. Jy wonder oor die blou, maar besef later dat die stel die kleure van die ou landsvlag weerspie\u00ebl: oranje, wit en blou. Nico se tempo is delikaat maar geensins eenselwig nie. Stiltes is gelade en werk in teenwig met die oomblikke van ho\u00eb drama en intensiteit. Hy gee nie alles praterig weg nie, maar laat die kyker self die nodige verbindings maak. <\/p>

Die gebruik van wit plastieksoldaatjies is een van die aangrypendste elemente in die produksie. Hulle simboliseer die oorgang van kinderlike onskuld na volwasse geweld, en herinner aan hoe jong mans van daardie era gevorm en vervorm is deur ideologie en oorlog. Hulle dien ook as stille getuies van die verloop van gebeure en in \u2019n stadium is hulle selfs Seun se trane wat spat. <\/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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Saam met Kate Borthwick se klankbaan wat die geheue prik en gevoelens aanwakker, is die plastieksoldaatjies en beligting die visuele senuweestelsel van die stuk \u2013 klein en eenvoudig, maar met \u2019n trefkrag wat jou lank sal bybly. Die beligting is eintlik \u2019n verteller in eie reg. In oomblikke van stilte en konfrontasie praat die lig en skep die spanning tussen vergeet en onthou. <\/p>

Dis onmoontlik om Wilhelm genoeg lof toe te swaai vir sy vertolking van die hoofkarakter. Trouens, dis moeilik om te glo Seun<\/em> is sy eerste eenmanstuk, want sy spel is meesterlik en sy beheer onberispelik, selfs toe die mikrofoon met die opening by die Woordfees kort n\u00e1 die aanvang faal. Komplimente ook aan Nico dat hulle besluit het om die opvoering vinnig te onderbreek en die mikrofoon reg te stel. Dit was geensins steurend nie en Wilhelm se professionaliteit het gesorg dat die stuk met dieselfde intensiteit hervat kon word. <\/p>

\u201cTot dusver was dit \u2019n ongelooflike reis met die stuk,\u201d noem Wilhelm in \u2019n gesprek. \u201cDis darem nou al die vierde fees waar ons optree. Daar was \u2019n paar uitdagings, maar dit was hoofsaaklik net om myself te vertrou en oor te gee aan my ervaring. Ek het oor die jare al saam met ongelooflike akteurs, regisseurs en skrywers gewerk. Ek dink ek het sodoende \u2019n sterk performance muscle ontwikkel. Tog was dit maar moeilik om aanvanklik daarop te vertrou, want dit was my eerste eenmanstuk, en d\u00edt was nogal vreesaanjaend.\u201d <\/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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Wilhelm oordryf nooit nie; alles is deurdink en deurleef. Sy stem en liggaam werk saam soos \u2019n goedgeoliede masjien om die lae van sy karakter te openbaar \u2013 van reddelose gebrokenheid tot meelewing en aanvaarding. Hy speel met \u2019n sterk teenwoordigheid en gee aan die karakter se innerlike we\u0302reld tasbare gestalte. Sy veelsydigheid is verstommend en \u2019n mens verstaan waarom hy as akteur so hoog aangeskryf word. <\/p>

Sy vermo\u00eb om die verskeidenheid karakters uit te beeld wat in Seun se dampkring voorkom, is merkwaardig. Hy maak hulle nie na nie, maar in sy vertelling sien jy elkeen, jy hoor elkeen en jy v\u00f3\u00e9l elkeen. Daarna staan jy net verbaas oor hoe hy met perfekte aanvoeling terugkeer na die ingeto\u00ebndheid en skugterheid van die hoofkarakter. <\/p>

Seun <\/em>is \u2019n deernisvolle meesterstuk. Johann gee diepte daaraan, Nico gee dit vorm en struktuur, en Wilhelm gee dit bloed en asem. Seun <\/em>herinner ons daaraan dat elke man, \u00earens diep binne, deels nog seun is wat probeer verstaan wie hy geword het. <\/p>

*<\/p>

Seun<\/strong> <\/a>
17 OKT. 15:00 | 19 OKT. 10:00
75 min | Idasvallei Prim\u00ear
R200-R250 | R230-R280 by die deur<\/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":84133,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[612,613],"tags":[541],"class_list":["post-84166","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ink-festival-newspaper-2025","category-spier-theatre","tag-woordfees-2025-en"],"yoast_head":"\nResensie: 'Seun' - 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-festival-newspaper-2025\/resensie-seun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: 'Seun' - 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