The Methuen drama guide to contemporary South African theatre

Abstract

This review focuses on the authors ’ coverage and discursive interpretation of South African theatre. The contextual relevance, scholarly rigour, historical accuracy and representation of historiography come under scrutiny. The Methuen Drama Guide is a contribution to the growing body of literature on the actors, trends and provocations of South African theatre. Herbert I. E. Dhlomo, Bheki Peterson, Maishe Maponya, Mango Shabangu, Robert Kavanagh and Loren Kruger have undertaken these scholarly projects. The Methuen Drama Guide is emblazoned by the primary colours of the ‘ new ’ South African fl ag, signalling the multiplicity of references to follow. The implications of this fl ag for artistic and scholarly expression appear to escape the writers ’ scrutiny. Published during the ’ movement, the book is placed in an epoch when and staff free education, decolonizing of the teaching environment and an academy which af fi rms African knowledge systems. Regrettably, the publication misses an opportune moment, centring the Eurocentrism which was indicted for sti fl ing teaching, learning and research. by the Market Theatre, founded by Barney Simon and Mannie Manim as a structure and institution is reasonably comprehensively archived. Dedicated to opposing state authority and the pervasive implementation of nationalist policy, the Market Theatre was a platform for resisting all aspects of racism and actively committed to challenging discrimination, separatism, segregation and oppression. The principle of bold independence was instrumental in forging an ideologically based work ethic and inculcated resistance to forms of hierarchy and privilege. The Market Theatre ’ s achieve-ments were produced through the efforts and persistence of two individuals who strove for its foundation on ethical basis in what Ronge calls ‘ a great epic struggle ’ . (2015, p. 20)