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"... a solid addition to international drama." --Library Journal Going beyond the parameters of conventional literary drama, these seven new plays express life issues in post-apartheid South Africa--Islamic fundamentalism, women's rights, ecology, Afrikaans culture and the new multi-racial life of the inner city. While theater rooted in the anti-apartheid movement was rich and vibrant, it was also singleminded in focus, obscuring the diversity of South African culture now brought to life in these works.
A collection of six plays dealing with the new South Africa, published in 2006 to celebrate 10 years of democracy post-apartheid. Plays about racial conflict, the impact of AIDS, power and corruption, the legacy of the past and female identity. Reprinted 2012, 2019. The Plays The Playground by Beverly Naidoo “...it floats on a haunting, echoing raft of traditional South African harmonies that make watching it a joyful experience as well as a thought-provoking one...” Time Out Critics’ Choice – Pick of the Year Taxi by Sibusiso Mamba: Edinburgh fringe first winner “a superbly written and produced play... A fine piece of work that’s refreshingly free of cliches.” Daily Mail, Pick of the Week Green Man Flashing by Mike Van Graan “...This finely crafted drama tears at the heart and soul of our democracy, and rips at the underbelly of corruption and political power through its astute writing...” Star Tonight Rejoice by James Whylie “... the cruellest irony of all is left until the end... the same one which has spelled the death of Rejoice... And millions more.” Friends of BBC Radio 3 What the Water Gave Me by Rehane Abrahams “tales that retrieve ancient magics and reveal contemporary terrors...” Cape Times To House by Ashwin Singh: Finalist in the 2003 PANSA (Performing Arts Network of SA) Festival of Reading of New Writing (the country’s foremost playwriting contest) “To House is an important piece of theatre; in it people voice opinions that are uncomfortable and edgy. The cathartic and therapeutic value of hearing these things said aloud in a public place is part of our essential healing process and proves, once again, that art has the ability to go where angels fear to tread.” Daily News, Durban
In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms. This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations. Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow.
Experiments in Freedom examines ways in which identities have been represented in recent South African play texts published in English. It begins by exploring descriptions of identity from various philosophical, psychological and anthropological perspectives and elaborates ways in which drama is uniquely suited to represent—as well as to effect—transformations of identity. In exploring the fraught terrain of identity studies, the book examines a selection of play texts in terms of five different discourse of identity—gender, nationalism, ethnicity, syncretism and race. Instead of building a sustained thesis throughout his text, Krueger writes in short bursts about a multiplicity of topics, extending his explorations rhizomatically into the crevices of a new South African society loath to relinquish its stranglehold on the politics of identity.
“Theatre is not part of our vocabulary”: Sipho Sepamla's provocation in 1981, the year of famous anti-apartheid play Woza Albert!, prompts the response, yes indeed, it is. A Century of South African Theatre demonstrates the impact of theatre and other performances-pageants, concerts, sketches, workshops, and performance art-over the last hundred years. Its coverage includes African responses to pro-British pageants celebrating white Union in 1910, such as the Emancipation Centenary of the abolition of British colonial slavery in 1934 organized by Griffiths Motsieloa and HIE Dhlomo, through anti-apartheid testimonial theatre by Athol Fugard, Maishe Maponya, Gcina Mhlophe, and many others, right up to the present dramatization of state capture, inequality and state violence in today's unevenly democratic society, where government has promised much but delivered little. Building on Loren Kruger's personal observations of forty years as well as her published research, A Century of South African Theatre provides theoretical coordinates from institution to public sphere to syncretism in performance in order to highlight South Africa's changing engagement with the world from the days of Empire, through the apartheid era to the multi-lateral and multi-lingual networks of the 21st century. The final chapters use the Constitution's injunction to improve wellbeing as a prompt to examine the dramaturgy of new problems, especially AIDS and domestic violence, as well as the better known performances in and around the Truth and Reconciliation Commission. Kruger critically evaluates internationally known theatre makers, including the signature collaborations between animator/designer William Kentridge, and Handspring Puppet Company, and highlights the local and transnational impact of major post-apartheid companies such as Magnet Theatre.
Featuers the four plays - ""Reach"", ""Some Mother's Sons"", ""Shwele Bawo!!"", and ""Dream of the Dog"" - that explore the themes such as reconciliation, matriarchy, justice, accountability, corruption, truth, memory, and violence which reflect on the challenges and questions South Africans are confronted with in their nascent democratic state.
This second annual volume in the African Theatre series focuses on the intersection of politics and theatre in Africa today. Topics include the remarkable collaboration between Horse and Bamboo, a puppet theatre company based in the United Kingdom, and Nigerian playwright Sam Ukala that was inspired by the infamous execution of Nigerian playwright Ken Saro-Wiwa and other Ogoni activists; the plays of Femi Osofisan; and plays by Ghanaian playwrights Joe de Graft and Mohammed Ben-Abdallah. African Theatre features the work of Mauritian playwright Dev Virahsawmy and includes an interview with him, reviews of an English production of his play, Toufann, as well as the translated playscript. Reports of workshops and conferences, reviews, and news of the year in African theatre make this volume a valuable resource for anyone interested in current issues in African drama and performance.
Chronicles the development of dramatic writing and performance from the time South Africa was established to post-apartheid. Investigates the impact of sketches and manifestos, and the oral preservation of scripts that could not be written.
South Africa's Truth and Reconciliation Commissions helped to end apartheid by providing a forum that exposed the nation's gross human rights abuses, provided amnesty and reparations to selected individuals, and eventually promoted national unity and healing. The success or failure of these commissions has been widely debated, but this is the first book to view the truth commission as public ritual and national theater. Catherine M. Cole brings an ethnographer's ear, a stage director's eye, and a historian's judgment to understand the vocabulary and practices of theater that mattered to the South Africans who participated in the reconciliation process. Cole looks closely at the record of the commissions, and sees their tortured expressiveness as a medium for performing evidence and truth to legitimize a new South Africa.