Broaching Frontiers, Shattering Boundaries: On Tradition and by T. E. Knight

By T. E. Knight

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26 It is difficult, at first, even to isolate a story line from the kaleidoscope of visual images with which the audience is assailed. Let me try.

5 Mark Gevisser, ‘Setting the Stage for a Journey into SA’s Heart of Darkness’, Sunday Independent [South Africa] : 10 Aug. 1997 : Supplement, 4. 6 I have not been able to see a performance of the Khulumani play, directed by Robert Coleman and Ramolao Makhene with texts by Lesego Rampolokeng. 2001, 12:53 Addressing the Silences of the Past 51 Before embarking on such a discussion, it is perhaps useful to remind ourselves, however briefly, that the whole exercise is grounded both in Christian theology and in African communalism or ubuntu.

Since it is central to the whole concept of the play, I shall quote his response to it : There seemed to be an awkwardness in getting an actor to play the witnesses – the audience being caught halfway between having to believe in the actor for the sake of the story, and also not believe in the actor for the sake of the actual witness who existed out there but was not the actor. Using a puppet made this contradiction palpable. There is no attempt to make the audience think the wooden puppet or its manipulator is the actual witness.

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