Abstract
IntroductionThe focus in this article is a postcolonial reading of Yael Farber's 2012 adaptation (Mies Julie) of Strindberg's Miss Julie (1888) through the lens of the Mother of the Nation concept (Volksmoederkonsep) as situated within Afrikaner nationalist ideology. Strindberg's Miss Julie has been adapted numerous times (apparently more than twenty times) and often through re-imagings of the original play's issues in regards of gender, power and social class. More recent adaptations include Patrick Marber's reworking of the play, entitled After Miss Julie in 2009 and a 2012 Chinese opera version directed by Ravel Luo.
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