Abstract
As an artist, to say that Apartheid was a terrible thing is to say nothing—or at very least, to say nothing new. For decades, the plays of Athol Fugard, Zakes Mda, and many others have come out of the wilderness of oppression with vitally important stories. While these plays still resonate with the power of the suffering human voice, their edge of political immediacy has been dulled. The South African drama that pressed for change has succeeded, and has brought about—at least in part—its own demise. The question now is, when the protest drama of the Apartheid era is no longer needed, what will fill its theatrical vacuum?
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