{"id":321,"date":"2026-03-14T18:20:52","date_gmt":"2026-03-14T16:20:52","guid":{"rendered":"https:\/\/ratwestern.co.za\/index.php\/dead-media-copy\/"},"modified":"2026-03-15T12:11:45","modified_gmt":"2026-03-15T10:11:45","slug":"dead-media-2","status":"publish","type":"page","link":"https:\/\/ratwestern.co.za\/index.php\/dead-media-2\/","title":{"rendered":"DISCHARGE"},"content":{"rendered":"\n
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\n \n DISCHARGE (2012) <\/span>\n\n \n \n RETURN TO PERFORMANCE MENU<\/a>\n <\/span>\n <\/h1>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n
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“A tormenting thought: as of a certain point, history was no longer real. Without noticing it, all mankind suddenly left reality; everything happening since then was supposedly not true; but we supposedly didn\u2019t notice. Our task would now be to find that point, and as long as we didn\u2019t have it, we would be forced to abide in our present destruction.”
\n\u2013 Elias Canetti<\/em><\/p>\n

DISCHARGE<\/em> was site-specific, collaborative, immersive ,and interactive performance produced by Gavin Krastin, Alan Parker, and Rat Western in association with First Physical<\/em> Theatre Company<\/em> for the Main Programme of the National Arts Festival<\/em> (Grahamstown, South Africa) in 2012.<\/p>\n

Playing off of the popular culture apocalyptic hype of 2012 and the Mayan Calendar Doomsday prophesy, DISCHARGE<\/em> took its starting point from an imagined catastrophe that has left the performers and audience to play out a post-apocalyptic narrative.<\/p>\n

The audience\/\u2019survivors\u2019 were transported in army trucks to the First Grahamstown Army Base<\/em> where the performance was situated in a military hangar \u2013 the last quarantined outpost. Here, the performers used the post apocalyptic narrative to examine the post apartheid\/post-colonial\/post-modern cultural zeitgeist. Through a series of borrowed, mixed up ,and mutated cultural archetypes and references, the cast attempted to make something \u2018new\u2019 from the ashes of \u2018It\u2019s all been done.\u2019<\/p>\n

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Credits:<\/h6>\n
Created by: <\/strong>Gavin Krastin, Alan Parker and Rat Western.
Choreography by:<\/strong> Gavin Krastin and Alan Parker.
Scenography by: <\/strong>Gavin Krastin and Rat Western.
Digital art and sound design by:<\/strong> Rat Western.
Lighting design by:<\/strong> Wesley Deintje.
Performed by: <\/strong>Andrew Buckland, Luke Calder, Maxwell Farouk, Juanita Finestone-Praeg, Lauren Fletcher, Candace Gawler, Christopher Johnson, Gavin Krastin, Siyabulela Mbambaza, Kimberly Mkhushulwa, Nomcebisi Moyikwa, Pumelela Nqelenga, Alan Parker, Lulama Live Qongqo, Karabo Ramalibana, Inga Sibiya, Peter-John Urban, Sandy Vlandir, Frederick Michael von Bardeleben, Josh Martin and Rat Western.
Live music by:<\/strong> Cameron Cordell and Tim Abel.
Sculptural installation by:<\/strong> Samantha Munro and Simone Heymans.
Print and digital imagery by: <\/strong>Luke Calder, Dun Lorenco, Samantha Munro, Ivy Chemutal Ng\u2019ok, Paige Mila Rybko and Jamie Waddington.
Sculpture by: <\/strong>Francois Knoetze<\/h6>\n
Press:<\/strong>
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DISCHARGE infiltrates the National Arts Festival<\/a>\u00a0<\/u>|\u00a0Artslink<\/em> | Alan Parker<\/h6>\n
Art is everywhere at 2012 National Arts Festival<\/a> <\/u>| Artslink<\/em> | Gillian Hemphill<\/h6>\n
Performance art prickles<\/a><\/u>\u00a0| Cue<\/em> | Staff writer<\/h6>\n
Reality theatre brings home vision of destruction<\/a><\/u>\u00a0| Grocott\u2019s Mail<\/em> | Bruno Gorostiaga<\/h6>\n
Dexter\u2019s Kill Room<\/a><\/u>\u00a0| Cue<\/em> | Chelsea Geach<\/h6>\n
Heavyweights take performance art centre stage<\/a><\/u>\u00a0| Mail & Guardian<\/em> | Atiyyah Khan<\/h6>\n
No escaping the landscape<\/a><\/u>\u00a0| Tonight<\/em> | Adrienne Sichel<\/h6>\n
Cars, caves, tutus and controversy<\/a><\/u>\u00a0| Tonight<\/em> | Adrienne Sichel<\/h6>\n <\/div>\n<\/div>\n <\/div>\n
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PERFORMANCE STILLS<\/h3>
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VIDEO WORK<\/h3>
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