It was playwright Athol Fugard who, during the Apartheid years, was able to distill a sort of literary, existential and geographical transcendence from the smallest stories. Two homeless people in “Boesman and Lena”, two fractured siblings in “Hello and Goodbye”. Working in the post-Apartheid landscape, playwright and director Lara Foot echoes many of Fugard’s themes of hope and redemption. Her latest play, “Fishers of Hope Tawaret”, continues this tradition, but this time takes the narrative beyond our borders.
In his introduction to Lara Foot’s first solo play Tshepang – originally performed in Amsterdam in June 2003 and written as part of Foot’s MA thesis at Wits – clinical psychologist Tony Hamburger observes that Foot’s work “tracks a direct artistic bloodline that starts with Athol Fugard”.
“It continues a direction initiated in the late 1950s by Fugard and his colleagues John Kani, Winston Ntshona and Barney Simon. This school could be identified in many ways as ‘protest theatre’, ‘political theatre’, ‘anti-Apartheid theatre’. And although those appellations are not inaccurate, they exclude a universality and timelessness. These playwrights are concerned with themes that go well beyond the specifics of a particular time and political era and a uniquely South…
Source : Daily Maverick