The implacable grandeur of the stranger: ruminations on fear and familiarity in Die Vreemdeling

Abstract

South Africa is a nation of strangers, an uneasy mishmash of heterogeneous economic groupings, cultures and languages, a nation of marginalised minorities awkwardly pasted together. Numerous attempts have been made by its government to define and bolster a sense of nationalism and to create a sense of cohesion; however, a shadow side of this appeal for national identity has been the rise in xenophobic violence precipitated by the steady influx of refugees into the country. The title of this article is drawn from Albert Camus's introduction to his disarming novella of dislocation, L'Etranger (1942), and I would like to explore some of the philosophical implications of representing strangers in different ways. Drawing on works by Zygmunt Bauman, Georg Simmel and Julia Kristeva, I will consider ambivalences towards the stranger represented in Magnet Theatre's production (2010) of Die Vreemdeling [The Stranger], and pose a few questions about our relationship with the unknown. Attempts to familiarise the constituents of various communities with aspects of each other's strangeness is a project which has typified much South African theatre in the past; and yet this is an approach which stands in sharp contrast to the importance granted processes of defamiliarisation first proposed so succinctly by Victor Shklovsky in 1917. Instead of attempts to harness and explain the unfamiliarity of others in order to communicate diversity, a celebration of the grandeur of the stranger may provide a more enriching alternative.