Includes the plays Concealment and Fever Set in England's colonial outposts in South Africa during the 19th Century, both of the plays in this volume feature sisters forced by a deeply conservative, patriarchal society to resist the powerful call of their vivid surroundings and to stifle the demands of their own rich, feminine sexuality. In Concealment, Amy and her father travel to South Africa to retrieve her recently widowed sister, but are disturbed to find her untouched by grief, unwilling to return and drawn instead to the wild, natural beauty of her moonlit garden. In Fever, Emma corresponds with Katy back in England, who learns the full and terrible extent of her sister's yearning and isolation when she discovers her hidden diary.
Includes the plays Yelena, Three Sisters Two and On the Lake This second volume of de Wet’s plays brings together three pieces which take as their inspiration the life and work of Anton Chekhov. Yelena uses the characters from Uncle Vanya and focuses on the interpersonal dramas of a small group of people connected by love, marriage and blood. The acclaimed Three Sisters Two offers us a vision of the confusions and the collapse of value systems which occur at times of revolution. Performed at the Orange Tree Theatre, Richmond, February 2002.
Includes the plays African Gothic, Good Heavens and Breathing In A farm lies in ruin. And with mother and father now gone, a brother and sister face eviction by an officious lawyer. Abandoned, they endlessly enact the rituals of punishment once visited upon them by their parents. Widely regarded as a milestone in South African theatre, the multi-award winning play African Gothic tells the story of their final 'dance macabre'. Despite overwhelming critical acclaim, it was also fiercely condemned by Afrikaans conservatives as being a subversive portrayal of repression. Good Heavens is a comedy thriller with the dark poetic heart of a folk-tale. Two spinster sisters, with their ailing mother and simple-minded brother, await the annual visit of their youngest sister. Deeply envious of her beauty and youth, they hatch a diabolical plot to rid themselves of her forever. In Breathing In, on a stormy night in the last bitter months of the Second Anglo-Boer War, a seriously wounded General and his faithful Adjutant encounter a mysterious woman and her seductive other-wordly daughter, and are confronted with the subtle methods of survival these women have been forced to adopt. Accustomed to the rigours of war, the corageous Adjutant now faces a terrible choice.
Includes the plays Missing, Crossing and Miracle The three plays in this volume are hauntingly beautiful pieces with simple fable-like characters who are touched by magical events. A circus has a mysterious significance in Missing (Mis) as a mother and daughter are visited by a blind policeman on the nights it comes to town. In Crossing (Drif) a stormy night brings a hypnotist to the home of two sisters who live by a ford, two women who bury the bodies of fortune-seekers who fail to heed their warnings about the river when it is in flood. Miracle (Mirakel) centres on a theatrical troupe and again exemplifies the author’s earthiness, humour and child-like wonder.
Includes the plays Missing, Crossing and Miracle The three plays in this volume are hauntingly beautiful pieces with simple fable-like characters who are touched by magical events. A circus has a mysterious significance in Missing (Mis) as a mother and daughter are visited by a blind policeman on the nights it comes to town. In Crossing (Drif) a stormy night brings a hypnotist to the home of two sisters who live by a ford, two women who bury the bodies of fortune-seekers who fail to heed their warnings about the river when it is in flood. Miracle (Mirakel) centres on a theatrical troupe and again exemplifies the author’s earthiness, humour and child-like wonder.
Includes the plays Concealment and Fever Set in England's colonial outposts in South Africa during the 19th Century, both of the plays in this volume feature sisters forced by a deeply conservative, patriarchal society to resist the powerful call of their vivid surroundings and to stifle the demands of their own rich, feminine sexuality. In Concealment, Amy and her father travel to South Africa to retrieve her recently widowed sister, but are disturbed to find her untouched by grief, unwilling to return and drawn instead to the wild, natural beauty of her moonlit garden. In Fever, Emma corresponds with Katy back in England, who learns the full and terrible extent of her sister's yearning and isolation when she discovers her hidden diary.
Includes the plays African Gothic, Good Heavens and Breathing In A farm lies in ruin. And with mother and father now gone, a brother and sister face eviction by an officious lawyer. Abandoned, they endlessly enact the rituals of punishment once visited upon them by their parents. Widely regarded as a milestone in South African theatre, the multi-award winning play African Gothic tells the story of their final 'dance macabre'. Despite overwhelming critical acclaim, it was also fiercely condemned by Afrikaans conservatives as being a subversive portrayal of repression. Good Heavens is a comedy thriller with the dark poetic heart of a folk-tale. Two spinster sisters, with their ailing mother and simple-minded brother, await the annual visit of their youngest sister. Deeply envious of her beauty and youth, they hatch a diabolical plot to rid themselves of her forever. In Breathing In, on a stormy night in the last bitter months of the Second Anglo-Boer War, a seriously wounded General and his faithful Adjutant encounter a mysterious woman and her seductive other-wordly daughter, and are confronted with the subtle methods of survival these women have been forced to adopt. Accustomed to the rigours of war, the corageous Adjutant now faces a terrible choice.
During a night-long vigil preceding the funeral of their brother Kostia, Anton and Aleksander Chekhov are drawn into an agonising and explosive confrontation with each other and with deeply hidden aspects of themselves. As the play unfolds, it becomes a searing portrayal of human misery and the redemptive power of the creative impulse.
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