Betower -
die drama
deur
Fanie Viljoen
(2017 edition)
Section 1: Introduction
Common (algemeen)
What is the symbolism of a forest (bos/woud)? Some psychologists view
(beskou) it as the subconscious (onderbewuste).
In Betower – die drama Nadia enters (betree) the enchanted (betowerde)
forest (bos). She also enters the unknown (onbekende); the kingdom
(koninkryk) of death {compare the angel of death in the middle of the maze};
the secrets (geheime) of nature and the spiritual life. Her entrance
(binnegaan) and experience (belewing) of the forest can be seen as her
quest (soektog) for healing (genesing), also on a subconscious level (vlak).
She carries (dra) the heavy burden of a secret (geheim), one that she fled
(gevlug) Johannesburg for. She has to process (verwerk) a traumatic
PROPERTY OF M SOUNES NO COPYING, SHARING OR DISTRIBUTION ALLOWED 1
, experience (gebeurtenis) alone, her mom is more worried about what
people would say than what she is about Nadia. But then, Poenk is there for
her. Poenk and the forest. Together both teenagers find a solution (uitkoms)
to their circumstances (omstandighede), where the beauty (mooi) of nature
and the forest offer (bied) a magical (magiese) escape route
(ontsnappingsroete) from reality. The forest is the setting/place where the
magical events (gebeure) can take place (plaasvind), where the impossible
(onmoontlike) can become possible.
Viljoen got the inspiration for the character of Poenk after he noticed a boy
whose pants (broek) was held together with a safety pin (haakspeld). Shortly
thereafter, he heard the German (Duits) word “punkt” on an MK-program
and he knew his unusual (ongewone) character had to get this unique
(sonderlinge) name.
Nadia’s character is inspired by a pale-looking girl with a wild head of hair
and a cigarette in hand, which Viljoen saw in a magazine (tydskrif).
By writing Bewitch, Viljoen wanted the characters to become the reader’s
best friends. The readers must experience the strong emotions like rejection
(verwerping), acceptance (aanvaarding) and love (liefde) with Poenk and
Nadia.
Background information (agtergrondinligting)
Magical (magiese) realism is an important genre for Betower – die drama.
This happens when fantasy and magic are mixed with daily reality. Concrete
and actual elements like characters and setting (ruimte) are set against the
background of the magical or supernatural (bonatuurlike).
Magical realism links to Jung’s concept of a collective (kollektiewe)
subconscious (onderbewuste). Jung was a famous psychologist from long
ago. Each one of us have inherited (geërf) experiences (ervarings) and
memories (herinneringe) from previous generations (geslagte). In the deepest
layers (lae) of our subconscious (onderbewussyn), are experiences and
memories that links back to experiences (belewenisse) from the whole of
humanity (mensdom) and also from the earliest of time, even (selfs) from the
beginning of the earth.
Edgar Allan Poe’s work is referenced in Betower – die drama.
In Betower – die drama, bright (skerp) white lights are used to depict (uit te
beeld) the magical scenes (tonele). The realistic scenes (tonele) are
produced (weergegee) with warm lighting like yellow (geel) and orange for
the school and home and cool lighting like blue and green for the forest
scenes (bostonele).
PROPERTY OF M SOUNES NO COPYING, SHARING OR DISTRIBUTION ALLOWED 2
die drama
deur
Fanie Viljoen
(2017 edition)
Section 1: Introduction
Common (algemeen)
What is the symbolism of a forest (bos/woud)? Some psychologists view
(beskou) it as the subconscious (onderbewuste).
In Betower – die drama Nadia enters (betree) the enchanted (betowerde)
forest (bos). She also enters the unknown (onbekende); the kingdom
(koninkryk) of death {compare the angel of death in the middle of the maze};
the secrets (geheime) of nature and the spiritual life. Her entrance
(binnegaan) and experience (belewing) of the forest can be seen as her
quest (soektog) for healing (genesing), also on a subconscious level (vlak).
She carries (dra) the heavy burden of a secret (geheim), one that she fled
(gevlug) Johannesburg for. She has to process (verwerk) a traumatic
PROPERTY OF M SOUNES NO COPYING, SHARING OR DISTRIBUTION ALLOWED 1
, experience (gebeurtenis) alone, her mom is more worried about what
people would say than what she is about Nadia. But then, Poenk is there for
her. Poenk and the forest. Together both teenagers find a solution (uitkoms)
to their circumstances (omstandighede), where the beauty (mooi) of nature
and the forest offer (bied) a magical (magiese) escape route
(ontsnappingsroete) from reality. The forest is the setting/place where the
magical events (gebeure) can take place (plaasvind), where the impossible
(onmoontlike) can become possible.
Viljoen got the inspiration for the character of Poenk after he noticed a boy
whose pants (broek) was held together with a safety pin (haakspeld). Shortly
thereafter, he heard the German (Duits) word “punkt” on an MK-program
and he knew his unusual (ongewone) character had to get this unique
(sonderlinge) name.
Nadia’s character is inspired by a pale-looking girl with a wild head of hair
and a cigarette in hand, which Viljoen saw in a magazine (tydskrif).
By writing Bewitch, Viljoen wanted the characters to become the reader’s
best friends. The readers must experience the strong emotions like rejection
(verwerping), acceptance (aanvaarding) and love (liefde) with Poenk and
Nadia.
Background information (agtergrondinligting)
Magical (magiese) realism is an important genre for Betower – die drama.
This happens when fantasy and magic are mixed with daily reality. Concrete
and actual elements like characters and setting (ruimte) are set against the
background of the magical or supernatural (bonatuurlike).
Magical realism links to Jung’s concept of a collective (kollektiewe)
subconscious (onderbewuste). Jung was a famous psychologist from long
ago. Each one of us have inherited (geërf) experiences (ervarings) and
memories (herinneringe) from previous generations (geslagte). In the deepest
layers (lae) of our subconscious (onderbewussyn), are experiences and
memories that links back to experiences (belewenisse) from the whole of
humanity (mensdom) and also from the earliest of time, even (selfs) from the
beginning of the earth.
Edgar Allan Poe’s work is referenced in Betower – die drama.
In Betower – die drama, bright (skerp) white lights are used to depict (uit te
beeld) the magical scenes (tonele). The realistic scenes (tonele) are
produced (weergegee) with warm lighting like yellow (geel) and orange for
the school and home and cool lighting like blue and green for the forest
scenes (bostonele).
PROPERTY OF M SOUNES NO COPYING, SHARING OR DISTRIBUTION ALLOWED 2
