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“Abbess, The,” 257n48 Abrahams, Peter, 215 acting, 89, 207; projection of self, 60–61, 88; self-transformation, 28, 55, 80, 180, 185; theatrical as political, vii, ix, 3, 92, 102–103, 205, 237 acting out, 32, 63, 102–103, 179 adolescence, 203–12, 255n19 adultery, 70–79, 243n6 African Music and Dance Association, 44 African Theatre Workshop, 2, 17 Afrikaners, 44, 51, 154–56, 161; spirit of, 124, 134, 162–65 Afrocentrism, 184 age bias, 221, 232 agitprop, 100, 107, 116 agon, 156, 179, 219, 232 Albee, Edward, 193, 199; The American Dream, 51; Zoo Story, 188 alcoholism, 143, 146, 169–70, 174–76, 215, 225 alienation, 80, 171, 194 allegory, 202. See also metaphors; parables Amato, Rob, 249n24 Amendola, Tony, 129 anti-apartheid activities, 118 anti-apartheid views, 224, 227, 252n20 Antigone, 76, 89, 90, 93, 228 Antigone (Sophocles), 89–98, 246n35 apartheid, 29, 76, 142, 188, 206; end of, ix, 178, 255n23; politics, 100, 166, 187, 242n31; witness of, 69, 188–89, 206 arias: Boesman, 66; Errol, 78; Hester, 49; Milly, 41; Miss Helen, 41; Morris, 22, 27; from Verdi, 216, 217; Zachariah, 27 art, 115–16, 160, 165, 227; inspiration, 107, 153; power of, 15–16, 159, 161, 237. See also Captain’s Tiger, The; Dimetos; Road to Mecca, The audience, 152, 227, 236, 253n1 audience participation, 76, 80, 96, 209 authority, 63, 207; creative, 231, 232 autobiographical narratives, 135–36, 203, 224, 226 Bachmann, Dieter, 101 Baker-White, Robert, 78 barriers, 197 Bates, Kathy, xii Beckett, Samuel, 41, 43, 189; Endgame, 35, 39; humor, 35, 41; influence, 1, 241n9; insight, 27, 39; Krapp’s Last Tape, 44; minimalism, xii, 2, 10, 44; models, 57, 173, 200, 242n20; space, 32, 45, 56, 199; style, 19, 20; Waiting for Godot, 44 Bender, John, 99 Index Page numbers in italics refer to illustrations. Some note references include a chapter number in parentheses, if necessary. Benson, Mary, vii, 201, 202, 203, 205 Bentley, Eric, ix Bergelson, Ilene, 211 birthright, 47 Blake, William (Hecate), 101, 105, 114, 116 Blood Knot, The, 17–32, 44, 192, 240n5(2), 240n6(2), 254n21; crossing the color line, 43, 207, 213; Ethel (The Blood Knot), 23, 24–25, 29, 30–31, 57; Morris , 19–32, 56–57, 240n6(2), 254n21; Zachariah, 19–32, 56–57, 241nn6,12, 254n21 Blumberg, Marcia, 60, 242nn26,27, 251nn4,13, 255n23 bodily odors, 110, 141, 147, 157–58 bodily wastes, 34–35, 46–47, 141, 147, 150, 198–99 body language, 27–28, 60–61, 65–66, 68, 157 Boesman and Lena, 43; Boesman, 55–68, 59, 75, 243n36; Lena, 55–68, 59, 75 boundaries, 212–13 Bowker, Veronica, 205 Brecht, Bertolt (Parables for the Theatre), 14, 29, 80, 81, 179 Breytenbach, Breyten, 211 Brink, André, 211 brotherhood, 19, 95, 152, 241nn6,7 Bryceland, Yvonne, xii, 79, 165 Busi (My Life), 203–12 Byron, George Lord (Childe Harolde), 182, 186 Campbell, Roy, 119, 123, 125 Camus, Albert: Carnets, 100; existentialism , 7–8, 35, 42, 50, 200; The Myth of Sisyphus, 89, 94–95, 248n11; The Rebel, 157; The Stranger, 125 canonicity, 186 capitalism, x, 80–81 Captain’s Tiger, The, 156, 223–37, 233; Betty Le Roux, 230–37; Donkeyman, 229–37, 257n45; and the SS Graigaur, 1, 215, 257n45 casts, mixed, 17, 19, 180, 207 Christianity, 153–54 Ciskeian Independence, 86 clocks, 31, 32, 34, 37, 67. See also time Cody, Gabrielle, 169 Coetzee, J. M., 101, 211 Cole, Gary, 191 Colleran, Jeanne, 187, 189, 256n31 coloureds, 57, 60, 64, 67, 240n5(1) comedy, 216, 220, 223; restorative, 110; Roman, 46; and tragedy of errors, 24, 35 coming of age, 149–52, 207 Commission for Truth and Reconciliation, 190, 253n17 compensation, 50–51, 52–53 Cousins (memoir), 79, 162–63, 224–25; excerpt , 19, 20, 33, 41 Coveney, Michael, 80 Creon, 89, 96–98, 246n35 cross-dressing, 36, 76, 92–93, 173–74; racial, 22–23, 26–27, 29–30, 31 Crow, Brian, 95, 244n17 Curry, Bill, 59 Cushman, Robert, 70 dancing, 209, 235; in “Master Harold” . . . and the Boys, 138–39, 143–46, 152, 180, 250n34 Daniel, Raeford, 225 de Klerk, F. W., 188 debate, analogue of theatre, 179 Dickey, Jerry, 115, 246n36, 248n11 Dimetos, x, 10, 100–16, 156; Danilo, 102, 105, 107–109, 111–13; Dimetos, 102–16; Lydia, 103–16; vs. A Place with the Pigs, 168–71; Sophia, 107, 108, 113, 114; staging of, 247n11 discipline, 249n12 disengagement, 29, 49–50, 118, 121–22 domestic violence, 60, 66, 158 Durbach, Errol, 117, 136, 243n42...

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