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Walder, Dennis
(2014).
DOI: https://doi.org/10.1080/10137548.2014.876797
Abstract
Among Fugard's post-apartheid plays one escapes the sentimental nostalgia of his recent turn inwards - The Train Driver (2010). In it he develops a challenging sense of the country's dealings with the past by focusing on the remembering of a 'track suicide' by the white driver, whose tragic story is told by a black gravedigger. The driver's morbidly excessive reaction, the result of identifying with the victim whose grave he seeks, is balanced in performance by the sympathy and acceptance of the gravedigger. The squatter camp cemetery setting provides a liminal urban space stressing the continuity of past wrongs while the selective remembering of the nation's elite masks everyday poverty and violence.
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About
- Item ORO ID
- 39328
- Item Type
- Journal Item
- ISSN
- 2163-7660
- Project Funding Details
-
Funded Project Name Project ID Funding Body Not Set Not Set Leverhulme Trust - Keywords
- South African theatre; Athol Fugard; The Train Driver; memory and trauma; remembrance
- Academic Unit or School
-
Faculty of Arts and Social Sciences (FASS) > Arts and Humanities > English & Creative Writing
Faculty of Arts and Social Sciences (FASS) > Arts and Humanities
Faculty of Arts and Social Sciences (FASS) - Research Group
- Postcolonial and Global Literatures Research Group (PGL)
- Copyright Holders
- © 2014 Taylor & Francis
- Depositing User
- Dennis Walder