Sounding the polyphonic cacophony of <i>Macbeth</i> with a young Jozi ensemble

Abstract

Digital theatre-making initiatives that had emerged during Covid-19 lockdowns urged an interrogation of the languages of live theatre when, in South Africa, as the public arena reopened and social interaction resumed, reconfigured notions of theatre-making seemed apt. Reformulating and reimagining the operations of the medium, and the processes through which stage productions evolve, not only applied aspects of successful digital theatre but also aligned with the ideological imperatives of decolonisation. The Joburg Theatre Youth Development Programme production of Macbeth (2021) offered an opportunity to explore soundscape through the interplay of spoken word and non-semantic avian and animal calls. As a point of entry to staging the play, ensemble-based improvisation around developing a soundscape led to a more considered mapping of ornithological images, their connotations and theatrical efficacy. Extended play in generating birdcalls was instrumental in building performers’ confidence in transposition and spontaneous translation from English to vernacular languages to give this rendition of Macbeth an edgy, contemporary, local tone. This article documents and addresses the rehearsal processes and some outcomes of the approach that was adopted.