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?
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.