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6 results

  • Chapter 24 - Brecht in Southern Africa

  • from Part III - The World’s Brecht
  • Edited by Stephen Brockmann, Carnegie Mellon University, Pennsylvania
  • Book:
    Bertolt Brecht in Context
    Published online:
    28 May 2021
    Print publication:
    10 June 2021, pp 208-216

  • Summary

    Although Brecht entered the South African repertoire only in the 1950s, 1930s political theater drew communists and other leftists local and expatriate including Kurt Baum who worked with Piscator and thus in the same milieu as Brecht in 1920s Berlin. Despite notoriety as a leftist writer, Brecht featured as a star of European art theater and a sign of high culture on university stages in the1950s and in subsidized theaters in the 1960s striving to represent “Western civilization” against alleged threats from communism or African nationalism. In contrast, the anti-apartheid theater of the 1970s–1990s from Fugard and Serpent Players to Junction Avenue Theatre with Purkey, Makhene and others, and the Market Theatre with Simon and others deployed the Lehrstück, epic theater, and Brechtian pedagogy to challenge the power of state and capital with activists and workers as well as professional performers. Postapartheid theater has borrowed from Boal as well as Brecht to create participatory dramaturgies for tackling crises such as AIDS, gender violence, and corruption in state and local government.

  • Johannesburg Drift: Variations of the Uncanny in Ivan Vladislavić’s The Exploded View

  • Mayowa Ajibade
  • Journal:
    Cambridge Journal of Postcolonial Literary Inquiry / Volume 8 / Issue 1 / January 2021
    Published online by Cambridge University Press:
    10 November 2020, pp. 80-93

  • This article focuses on some of the major scenes of the uncanny in Ivan Vladislavić’s The Exploded View. It identifies, describes, and connects the multiple registers of the uncanny operative in The Exploded View. It considers these multiple registers of the uncanny as parts of an overarching aesthetic framework discernible in the novel. This aesthetic framework, what we could call Vladislavić’s aesthetic of the uncanny, is discussed with a focus on three constituent and dynamic levels of activity: the formal level (textual repetition), the psychosocial level (“the political uncanny” and psychogeography), and the historical level. The article ultimately makes a case for using the aforementioned levels of the uncanny as productive frames for reading Vladislavić’s novel.