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...
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Universität Konstanz, Kommunikations-, Informations-, Medienzentrum (KIM)
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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
"This project originated in an international conference, "New Stage Idioms: south African Drama, Theatre and Performance in the Twenty-first-Century," held at the Université Libre de Bruxelles (ULB), Belgium, from May 11-13, 2017." (Acknowledgments)
