Theatre, Drama, and Performance in Post-apartheid South Africa
Edited By Greg Homann and Marc Maufort
“After Titus:” Towards a Survey of Shakespeare on the Post-apartheid Stage
← 74 | 75 → “After Titus”
Towards a Survey of Shakespeare on the Post-apartheid Stage
University of the Witwatersrand
When undertaking an account of South African Shakespeare-in-performance since the legislative end of apartheid, one is faced with a number of structural choices. What is the best way to “categorise” Shakespearean productions? By date – a chronological narrative? By play? By director? By actor? By company? By theatre? By city? By popularity and commercial success – audience response and critical reception? What I am about to offer is a combination of these, and by no means an attempt to be comprehensive. It is also worth emphasising the problem of defining the “Shakespearean,” never mind the “South African”; this is a consideration to which I shall return shortly. It seems, however, that an obvious (indeed, a necessary) starting point is Titus Andronicus, staged at the Market Theatre in Johannesburg in 1995, the year after South Africa’s first democratic elections.
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