Affirmative Action versus Nonracialism in the New South Africa

2003 ◽  
Vol 31 (1/2) ◽  
pp. 1
Author(s):  
Nicholas L. Waddy
Keyword(s):  
South Africa ◽  
Affirmative Action ◽  
New South

Towards social justice in a new South Africa*

1997 ◽  
Vol 13 (3) ◽  
pp. 229-239 ◽  
Author(s):  
Solomon R. Benatar
Keyword(s):  
South Africa ◽  
Social Justice ◽  
New South

In the ‘New South Africa’: W(h)ither literature?

Wasafiri ◽  
1994 ◽  
Vol 9 (19) ◽  
pp. 3-7 ◽  
Author(s):  
Kenneth Parker
Keyword(s):  
South Africa ◽  
New South

The Market Theatre of Johannesburg in the New South Africa

2002 ◽  
Vol 18 (4) ◽  
pp. 359-374
Author(s):  
Hilary Burns
Keyword(s):  
South Africa ◽  
New South ◽  
Black Consciousness ◽  
Black Artists ◽  
The Past ◽  
Form Part ◽  
Incumbent Regime ◽  
Apartheid Regime ◽  
Black Consciousness Movement

The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.

Sign in / Sign up

Export Citation Format

Share Document