Abstract Boesman and Lena, a play by Athol Fugard in 1969, explores the socio-political landscape of apartheid-era South Africa. The story centres on Boesman and Lena, a couple who are forcibly displaced from their home due to apartheid laws. This article examines how Fugard navigates the complexities of coloured history within South African modernity rather than through the lens of post-colonial discourse. It investigates Fugard’s use of modern theatre techniques, particularly his adaptation of Brecht’s Leichtigkeit, to portray the intricacies of human existence and societal tensions in his plays. Furthermore, the article discusses that Fugard’s effort offers a unique perspective on reconciling contrasting traditions within modern theatre. Further in his Fanonian anatomy of the psychology of coloured individuals, his theatre provides a remarkable narrative of South African modernity by depicting coloured people as a spectral experience of South African history and their shared humanity as a significant ideology that equals the Black Consciousness Movement.
Read full abstract