Let's Talk Theatre with Kanya Viljoen!


Originally from Somerset West, Kanya Viljoen is a young theatre maker. She is currently enrolled at the University of Cape Town (UCT), where she is completing a Masters’ degree in theatre and drama. She has also received multiple nominations in the theatre industry by the KykNET Fiësta Awards and Fleur Du Cap, and her theatre work has been seen at multiple arts festivals nationally. Today we get an insider’s perspective with Kanya on all things theatre and the arts!   


Kanya Viljoen
Photo by Justin Munitz 
Cultsha Kennis: Tell us about your background. How did you get into theatre?

 KV: Since a young age, I have been interested in poetry, music and dance. My poor parents – I think I must have made them sit through endless hours of impromptu performances! So, it has always been such an intrinsic part of how I expressed myself within the world, that studying theatre and performance seemed like a very organic next step. It never felt like I had any other choice. So, after high school I decided to study Theatre and Performance at the University of Cape Town. There, I specialised in theatre making and am now currently completing my Masters, whilst writing and directing plays, films, facilitating, and teaching as part of various arts projects.

Die Skrif Is Aan Die Muur by Kanya Viljoen
 Photo by Hans van der Veen 
Cultsha Kennis: Congratulations on a successful run of Op Die Hoek Van Die Sesde Straat at the Toyota US Woordfees 2020! Tell us about the symbolic use of bedding and clothing in the production. 


KV: Thank you so much for the wonderful compliment and for coming out to support. Yes, the bedding and clothing sort of plays on the notion that we all live very private lives, but we are also held in a community. We do eventually form a part of a larger group and in this case the characters live in a flat building and therefore everyone’s clothing and bedding ends up hanging in a communal space. This also speaks to the fact that we are inherently accountable and weaved into one another, whether we know each other or not.

Jesse Die Man En Die Maan by Kanya Viljoen
Photo by Liese Kuhn 
Cultsha Kennis: Tell us about your upcoming production Jessie, Die Man En Die Maan which is scheduled to take place at Suidoosterfees. What is it about and why were you inspired to write it? 

KV: The piece tells the tale of a young boy, Jessie, and his father, AB, that mourns the death of their mother and wife. Using physical theatre, animation as well as text, a poetic landscape is formed that questions the very concept of mourning the death of a loved one.

The inspiration for the piece came from books and stories I read about the moon as a young child. It really fascinated me and as I grew older I kept thinking on how many stories, folk tales, horoscopes and beliefs are still formed around the moon and that really excited me in terms of creating a piece of theatre that uses these stories as a basis for a larger story. 

RAAK by Kanya Viljoen
Photo by Christine Offerman  
Cultsha Kennis: You have received quite a few nominations over the years for your work! What would you say was your biggest highlight in working in theatre? 

KV: I am not sure whether I can choose just one moment, as it really feels like I have just started my career in theatre. Furthermore, I think the thing I enjoy the most about theatre isn’t necessarily the ‘big’ moments, but the small ones. The jokes and connections you form with a cast, the cups of coffee, the endless chatting about things, the moments where a prop doesn’t work or everyone jumps in to save a moment. Those are the things I really treasure.

RAAK by Kanya Viljoen
Photo by Christine Offerman 
Cultsha Kennis: Are you working on anything else outside of theatre? 

KV: I am! I just finished my 1st short film with Emilie Badenhorst that will premiere this year. I really fell in love with the medium and would love to do one again soon. I am teaching and facilitating various projects at the Baxter Theatre Centre, Act Cape Town and UCT. I also write articles for LitNet and Klyntji. The big focus for the year is on my Masters, so that’s also got me busy. 

Jesse, Die Man En Die Maan by Kanya Viljoen
Photo by Liese Kuhn 
Cultsha Kennis: Multilingualism is an interesting concept that is being explored right now in theatre and other platforms. Do you prefer to write or express yourself in a specific language? Why?  

KV: I don’t think so. I am quite interested in multilingualism and how it shifts and works in theatre and arts projects. I think we are a multilingual country and therefore the work we make should reflect that. So, it really depends on the project and the characters and the story and how language remains true to that. 




RAAK by Kanya Viljoen
Photo by Christine Offerman 

 Cultsha Kennis: How has the coronavirus outbreak and subsequent lockdown affected your work? What lessons do you think the arts and theatre industries should consider for the future in light of this?

KV: Sjoe! I am not sure I have really taken in what the virus has meant for my work, nor the larger theatre industry. I know that many artist, including myself, has lost a lot of income, as we work on contracts and from one project to the next. I am also amazed at how many artist have opened themselves up and re-imagined there art forms on a digital platform. I am not sure which lessons we will take from this, but I do hope that this challenge inspires and allows us to imagine possible solutions and new ways of making and sharing work, that we have not explored before. 

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