Un article du New-York Times nous décrit la situation paradoxale des artistes sud-africains qui trouvent l’exercice de leur métier plus difficile aujourd’hui qu’à l’époque de l’apartheid. En effet, à l’époque, le théâtre était un instrument politique dénonçant l’apartheid. Aujourd’hui, les artistes doivent apprendre à jouer un nouveau rôle plus ambigu.
An article by the New-York Times gives us the description of the paradoxical situation south-african artists are today. Their work is harder compared to what it was during the apartheid. Theater was a political instrument aimed against apartheid and artists took a political role in society. Today, they have to learn a new role that’s more ambiguous.
Despite Nelson Mandela’s talk of a “Rainbow Nation,” the cultural divide is still vast in South Africa, and artists are acutely aware of this.
Contemporary theater artists acknowledge that the terrain is harder to negotiate now than it was in the 1970s and ‘80s, when artists like Athol Fugard used theater to denounce apartheid. At that time there was never any question what the major themes should be. Theater was political, and apartheid was its subject.
Today things are murkier.
“We’ve grown up as a country,” said the director and playwright Lara Foot Newton. “Now the question is: Where do we derive our work from?” Explaining that younger artists are casting about for topics that resonate — and perhaps spur reform — she says it is taking time for them to find their stride in the absence of apartheid. “It’s like what happens when a drug addict stops taking drugs,” she said. “The other person says, ‘Now what am I going to think about?’ […]