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.
Marc Maufort, PhD (1986), Université Libre de Bruxelles (ULB), is Professor of Anglophone literatures at that university. He has authored and (co)-edited several books on English-language drama. He is the current editor of
Recherche littéraire/Literary Research.
Jessica Maufort holds a PhD (2018) in postcolonial literatures from the Université Libre de Bruxelles (ULB). She has published essays in
Ecozon@: European Journal of Literature,
Culture and Environment and
AJE: Australasian Journal of Ecocriticism and Cultural Ecology.
Notes on Contributors
1 A Fraught Process: Devising New Stage Idioms for Post-apartheid South Africa
Marc and Jessica Maufort
Part 1: Playwrights’ Perspectives
2 On Black and White: Staging South African Identities after Apartheid
3 Being in Two Places at the Same Time
4 Theatre of the Native Tongue
5 Transformation and the Post-apartheid Condition: The Collision of Policy and Imagination in South African Theatre
Mike van Graan
Part 2: Dramatic, Theatrical and Performance Reconfigurations
6 Performing Athol Fugard’s Outsider Art in
The Road to Mecca and
The Painted Rocks at Revolver Creek: Transformative Art Defies Percepticide
7 Alluring Voices from the Page to the Stage: Literary Characters and the Question of the ‘Real’ in Reza de Wet’s
Verleiding Petrus du Preez
8 From the Stage to the Page: Trauma, Reconciliation and Remembering in Craig Higginson’s
Dream of the Dog and
The Dream House Mathilde Rogez
9 South African Theatre and the Politics of the Improvisatory
10 The Fault-Lines of Idiom: New Thematic and Stylistic Trends in the Plays of Allan Kolski Horwitz
Vicki Briault Manus
11 Revisiting the Past, Imagining the Future: Aesthetic of Creolization in Post-apartheid South African Drama
Part 3: Female Playwriting
12 Intimate Exposure: Solo Women Performing in Post-apartheid South Africa
13 Recuperating Historical Narratives of Violence and Dislocation in Rehane Abrahams’
What the Water Gave Me Jill Planche
14 Female Interventions in Contemporary South African Drama and Performance: An Analysis of Selected Work by Women Artists
15 An Unfinished Homecoming: Postmemory, Place and New Practices of Politicisation in the Plays of Nadia Davids and Amy Jephta
Part 4: Creolization: From the Cape to Transnational Vistas
16 ‘Dis Nie Myne Nie, Dis Nie Joune Nie’ or Kramer and Petersen’s
Ghoema: Inscribing the Past, Claiming the Present?
17 Shakespeare versus Shakespeare: Notes on Theatre-Making from Belgium to South Africa
Index of Names and Literary Works
All interested in theatre studies, African studies, Afrikaans theatre, South African drama and culture, postcolonial theatre, and comparative literature studies.