Tshepang The Third Testament

‘And besides, nothing ever happens here. Nothing. Niks.’ Outside a South African town a silent woman, Ruth, goes through her self-imposed rituals, a child’s crib strapped to her back. An observer, Simon, who has loved Ruth since childhood, tells her story. Tshepang was inspired by the horrifying rape in 2001 of a nine month-old child. The child, Tshepang, gave her name to Lara Foot Newton’s award-winning play, though it is also ‘based on twenty thousand true stories’ - the number of child rapes estimated to occur in South Africa each year. Having premiered in Amsterdam in June 2003, Tshepang opened at the Gate Theatre, London, in September 2004. Winner of the Fleur du Cap Award for Best New South African Play 2003

"Outside a South African town a silent woman, Ruth, goes through her self-imposed rituals, a child's crib strapped to her back. An observer, Simon, who has loved Ruth since childhood, tells her story." "Tshepang was inspired by the horrifying rape in 2001 of a nine month-old child. The child, Tshepang, gave her name to Lara Foot Newton's award-winning play, though it is also 'based on twenty thousand true stories' - the number of child rapes estimated to occur in South Africa each year." "Having premiered in Amsterdam in June 2003, Tshepang opened at the Gate Theatre, London, in September 2004."--BOOK JACKET.

In a remote and impoverished village in the Karoo, South Africa, a young girl, Thomaza, struggles to survive. A violent and terrifying incident and a chance encounter with an escaped moose changes her life forever. A story of pain, redemption and hope, combining traditional African storytelling and magical realism the multi-award-winning Karoo Moose was first produced by the Baxter Theatre, Cape Town.

'What lies beneath the apparent simplicity of Kunene and the King is a lot of moral, political and existential depth. This is testimony to the brilliance of John Kani.' – EUSEBIUS McKAISER South Africa, 2019. Twenty-five years since the first post-apartheid democratic elections. Jack Morris is a celebrated classical actor who has just been given a career-defining role and a life-changing diagnosis. Lunga Kunene is a retired senior male nurse from Soweto now working for private patients. Besides their age, they appear not to have much in common. But a shared passion for Shakespeare soon ignites a 'rich, raw and shattering head-to-head' (The Times) as the duet from contrasting walks of life unpack the racial, political and social complexities of modern South Africa. Kunene and the King is a vital play that combines the magnificence of classic Shakespearean comedy, tragedy and history to reflect on a new yet deeply wounded society.

With a Foreword by Archbishop Desmond Tutu Yael Farber's trilogy of plays bears powerful testimony to the personal truths of those who lived through the brutal Apartheid regime in South Africa. Woman in Waiting tells of Thembi Mtshali's separation from her mother as a child, only to continue this legacy of waiting when forced to leave her own baby to mind other people's children in the white suburbs. Amajuba is a moving tapestry of different personal perspectives on growing up under Apartheid. He Left Quietly is the harrowing experience of Duma Kumalo, one of the wrongly accused Sharpeville Six, on South Africa's Death Row; preparations made for his death and ultimate reprieve.

Senkatana is a tragic play adapted from Sotho folk narrative. The play is regarded as a classic of Sesotho literature. Seen as one of the greatest essayists and dramatists writing in Southern Sotho, Senkatana was Mofokeng’s first book, published in 1952 in the African (then Bantu) Treasury Series, an imprint of Witwatersrand University Press.

The new edition of this highly succesful poetry anthology includes new poems, new notes and exercises, and has a freshly- designed, learning friendly format that makes it even more relevant and accessible to students in Southern Africa

After the end of Apartheid, South African theatre was characterized by a remarkable process of constant aesthetic reinvention. This multivocal volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms.