Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow.
In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention.
After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms.
This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations. Academics, playwrights and directors share with us their reflections on these questions that intimately link art and politics, reconciliation and the refusal to forget, while also broaching the theatre in African and Afrikaans languages, gendered violence, the process of cultural creolization and a dialogue with the Belgian stage.
MAUFORT, Marc and Jessica, eds. Forays into Contemporary South African Theatre: Devising New Stage Idioms. Leiden: Brill, 2020.