Yael Farber uses the Oresteia trilogy as a metaphor through which to revisit the horrors endured by the black majority at the hands of the white minority. But unlike the original, Farber breaks the cycle of violence, reflecting South Africa's own transformation in the 1990s.
South African born internationally acclaimed director and playwright, Yaël Farber, sets her explosive new adaptation of Strindberg’s Miss Julie in the remote, bleak beauty of the Eastern Cape Karoo. Transposed to a post-apartheid kitchen – a single night, both brutal and tender, unfolds between a black farm-labourer, the daughter of his master and the woman who has raised them both. The visceral struggles of contemporary South Africa are laid bare, as John and Mies Julie spiral in a deadly battle over power, sexuality, mothers and memory. Haunting and violent, intimate and epic, the characters struggle to address issues of reprisal and the reality of what can and cannot ever be recovered. Mies Julie is the winner of a number of awards including, the Best Of Edinburgh Fringe Award, an Edinburgh Fringe First Award and an Edinburgh Herald Angel Award. In December 2012, Mies Julie was listed in the Guardian's top ten best theatre picks of 2012 and in the Top Ten Plays of 2012 by the New York Times.
An Open Access edition of this book will be made available on the Liverpool University Press website and the OAPEN library on publication. Improvising Reconciliation is prompted by South Africa's enduring state of injustice. It is both a lament for the promise, since lost, with which non-racial democracy was inaugurated and, more substantially, a space within which to consider its possible renewal. As such, this study lobbies for an expanded approach to the country's formal transition from apartheid in order to grapple with reconciliation's ongoing potential within the contemporary imaginary. It does not, however, presume to correct the contradictions that have done so much to corrupt the concept in recent decades. Instead, it upholds the language of reconciliation for strategic, rather than essential, reasons. And while this study surveys some of the many serious critiques levelled at the country's Truth and Reconciliation Commission (1996-2001), these misgivings help situate the plural, improvised approach to reconciliation that has arguably emerged from the margins of the cultural sphere in the years since. Improvisation serves here as a separate way of both thinking and doing reconciliation. It recalibrates the concept according to a series of deliberative, agonistic and iterative, rather than monumental, interventions, rendering reconciliation in terms that make failure a necessary condition for its future realisation.
Hellenic Common argues that theatrical adaptations of Greek tragedy exemplify the functioning of a cosmopolitan cultural commonwealth. Analyzing plays by Femi Osofisan, Moira Buffini, Marina Carr, Colin Teevan, and Yael Farber, this book shows how contemporary adapters draw tragic and mythic material from a cultural common and remake those stories for modern audiences. Phillip Zapkin theorizes a political economy of adaptation, combining both a formal reading of adaptation as an aesthetic practice and a political reading of adaptation as a form of resistance. Drawing an ethical centre from Kwame Anthony Appiah’s work on cosmopolitanism and Michael Hardt and Antonio Negri’s theory of the common, Hellenic Common argues that Attic tragedy forms a cultural commonwealth from which dramatists the world over can rework, reimagine, and restage materials to envision aspirational new worlds through the arts. This study will be of great interest to students and scholars of drama, adaptation studies, literature, and neoliberalism.
South African born internationally acclaimed director and playwright, Yaël Farber, sets her explosive new adaptation of Strindberg’s Miss Julie in the remote, bleak beauty of the Eastern Cape Karoo. Transposed to a post-apartheid kitchen – a single night, both brutal and tender, unfolds between a black farm-labourer, the daughter of his master and the woman who has raised them both. The visceral struggles of contemporary South Africa are laid bare, as John and Mies Julie spiral in a deadly battle over power, sexuality, mothers and memory. Haunting and violent, intimate and epic, the characters struggle to address issues of reprisal and the reality of what can and cannot ever be recovered. Mies Julie is the winner of a number of awards including, the Best Of Edinburgh Fringe Award, an Edinburgh Fringe First Award and an Edinburgh Herald Angel Award. In December 2012, Mies Julie was listed in the Guardian's top ten best theatre picks of 2012 and in the Top Ten Plays of 2012 by the New York Times.
In June 2015, Canada’s Truth and Reconciliation Commission released 94 Calls to Action that urged reform of policies and programs to repair the harms caused by the Indian Residential Schools. Decolonizing Discipline is a response to Call to Action 6––the call to repeal Section 43 of Canada’s Criminal Code, which justifies the corporal punishment of children. Editors Valerie Michaelson and Joan Durrant have brought together diverse voices to respond to this call and to consider the ways that colonial Western interpretations of Christian theologies have been used over centuries to normalize violence and rationalize the physical discipline of children. Theologians, clergy, social scientists, and First Nations, Inuit, and Métis leaders and community members explore the risks that corporal punishment poses to children and examine practical, non-violent approaches to discipline. The authors invite readers to participate in shaping this country into one that does not sanction violence against children. The result is a multifaceted exploration of theological debates, scientific evidence, and personal journeys of the violence that permeated Canada’s Residential Schools and continues in Canadian homes today. Together, they compel us to decolonize discipline in Canada.
From the award-winning author of Crossing Ocean Parkway, a personal memoir about adjusting to loss through books, meditation, and the process of memory itself Marianna De Marco Torgovnick experienced the rupture of two of her life’s most intimate relations when her mother and brother died in close proximity. Mourning rocked her life, but it also led to the solace and insight offered by classic books and the practice of meditation. Her resulting journey into the past imagines a viable future and raises questions acute for Italian Americans but pertinent to everyone, about the nature of memory and the meanings of home at a time, like ours, marked by cultural disruption and wartime. Crossing Back: Books, Family, and Memory without Pain presents a personal perspective on death, mourning, loss, and renewal. A sequel to her award-winning and much-anthologized Crossing Ocean Parkway, Crossing Back is about close familial ties and personal loss, written after the death of her remaining birth family, who had always been there, and now were not. After their loss, she entered a spiritual and psychological state of “transcendental homelessness”: the feeling of being truly at home nowhere, of being spiritually adrift. In a grand act of symbolic reenactment, she found herself moving apartments repeatedly, not realizing she did so subconsciously to keep busy, to stave off grief. By reading and studying great books, she opened up to mourning, a process she constitutionally resisted as somehow shameful. Over time, she discovered that a third death colored and prolonged her feelings of grief: her first child’s death in infancy, which, in the course of a happier lifetime, had never been adequately acknowledged. Her new losses led her finally to take stock of her son’s death too. Reading and meditating, followed by writing, became daily her healing rituals. A warm and intimate user’s guide to books, family, and memory in the mourning process, the end-point being memory without pain, Crossing Back is a wide-ranging memoir about growing older and learning to ride the waves of change. Lively and conversational, Torgovnick is masterful at tracking the moment-to moment, day-to-day challenges of sudden or protracted grief and the ways in which the mind and the body seem to search for—and sometimes find—solutions.
Sabonia is about society in ancient times under going civil wars on one hand and a global threat in the other. Segregation, violence, it must stop, and it begins in Sabonia. In peace there is strength, and within that peace we will be able to grow, prospering as equals as a people on one world. One home where we do not have to be concerned with differences, yet embrace them. In a neighborhood everyone trusts each other because we are one family. Only by uniting cultures can we protect the peace their world has left, and grow it further in the future.
This collection of plays reflects certain key trends in both subject matter and aesthetics prevalent in South Africa at this crucial moment in history. An introductory essay for the anthology provides the reader with the artistic, cultural, and political background to the plays.