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| tshepang play: Tshepang: The Third Testament Lara Foot Newton, 2004-12-20 ‘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 |
| tshepang play: State of Peril Lucy Valerie Graham, 2015 Considering fiction from the colonial era to the present, State of Peril offers the first sustained, scholarly examination of rape narratives in the literature of a country that has extremely high levels of sexual violence. Lucy Graham demonstrates how, despite the fact that most incidents of rape in South Africa are not interracial, narratives of interracial rape have dominated the national imaginary. Seeking to understand this phenomenon, the study draws on Michel Foucault's ideas on sexuality and biopolitics, as well as Judith Butler's speculations on race and cultural melancholia. Historical analysis of the body politic provides the backdrop for careful, close readings of literature by Olive Schreiner, Sol Plaatje, Sarah Gertrude Millin, Njabulo Ndebele, J.M. Coetzee, Zoë Wicomb and others. Ultimately, State of Peril argues for ethically responsible interpretations that recognize high levels of sexual violence in South Africa while parsing the racialized inferences and assumptions implicit in literary representations of bodily violation. |
| tshepang play: Gendered Perspectives on Conflict and Violence Marcia Texler Segal, Vasilikie (Vicky) Demos, 2013-10-25 The chapters in this two-part volume explore components of the emerging global discourse regarding gender and violence from a feminist and social scientific perspective. The authors address gender-based violence broadly, as an attribute of social structures as well as individuals and include LGBTQ individuals in its conceptualization of gender. |
| tshepang play: Engaging with Literature of Commitment. Volume 1 , 2012-01-01 This collection ranges far and wide, as befits the personality and accomplishments of the dedicatee, Geoffrey V. Davis, German studies and exile literature scholar, postcolonialist (if there are ‘specialties’, then Australia, Canada, India, South Africa, Black Britain), journal and book series editor.... Themes covered include publishing in Africa, charisma in African drama, the rediscovery of apartheid-era South African literature, Truth and Reconciliation commissions, South African cinema, children’s theatre in England and Eritrea, and the Third Chimurenga in literary anthologies. Surveyed are texts from Botswana, Nigeria, South Africa, Tanzania, and Zimbabwe. Writers discussed (or interviewed: Angela Makholwa) include Ayi Kwei Armah, Seydou Badian, J.M. Coetzee, Chielo Zona Eze, Ruth First, Abdulrazak Gurnah, Bessie Head, Ian Holding, Kavevangua Kahengua, Njabulo Ndebele, Lara Foot Newton, Ngũgĩ wa Thiong’o/Micere Githae Mugo, Sol Plaatje, Ken Saro–Wiwa, Mongane Wally Serote, Wole Soyinka, and Ed¬gar Wallace, together with essays on the artist Sokari Douglas Camp and the filmmaker Rayda Jacobs. Because Geoff’s commitment to literature has always been ‘hands-on’, the book closes with a selection of poems and an entertaining travelogue/memoir. |
| tshepang play: Social Work Artfully Christina Sinding, Hazel Barnes, 2015-04-20 The past two decades have witnessed a vigorous challenge to social work. A growing global convergence between the market and the public sector means that private sector values, priorities, and forms of work organization increasingly permeate social and community services. As challenges facing people and communities become more layered and complex, our means of responding become more time-bound and reductionist. This book is premised on the belief in the revitalizing power of arts-informed approaches to social justice work; it affirms and invites creative responses to personal, community, and political struggles and aspirations. The projects described in the book address themes of colonization, displacement and forced migration, sexual violence, ableism, and vicarious trauma. Each chapter shows how art can facilitate transformation: by supporting processes of conscientization and enabling re-storying of selves and identities; by contributing to community and cultural healing, sustainability and resilience; by helping us understand and challenge oppressive social relations; and by deepening experiences, images, and practices of care. Social Work Artfully: Beyond Borders and Boundaries emerges from collaboration between researchers, educators, and practitioners in Canada and South Africa. It offers examples of arts-informed interventions that are attentive to diversity, attuned to various forms of personal and communal expression, and cognizant of contemporary economic and political conditions. |
| tshepang play: Servamus , 2004 |
| tshepang play: Contemporary Women Playwrights Penny Farfan, Lesley Ferris, 2014-01-23 Breaking new ground in this century, this wide-ranging collection of essays is the first of its kind to address the work of contemporary international women playwrights. The book considers the work of established playwrights such as Caryl Churchill, Marie Clements, Lara Foot-Newton, Maria Irene Fornes, Sarah Kane, Lisa Kron, Young Jean Lee, Lynn Nottage, Suzan-Lori Parks, Djanet Sears, Caridad Svich, and Judith Thompson, but it also foregrounds important plays by many emerging writers. Divided into three sections-Histories, Conflicts, and Genres-the book explores such topics as the feminist history play, solo performance, transcultural dramaturgies, the identity play, the gendered terrain of war, and eco-drama, and encompasses work from the United States, Canada, Latin America, Oceania, South Africa, Egypt, and the United Kingdom. With contributions from leading international scholars and an introductory overview of the concerns and challenges facing women playwrights in this new century, Contemporary Women Playwrights explores the diversity and power of women's playwriting since 1990, highlighting key voices and examining crucial critical and theoretical developments within the field. |
| tshepang play: The Methuen Drama Guide to Contemporary South African Theatre Martin Middeke, Peter Paul Schnierer, 2015-11-19 South Africa has a uniquely rich and diverse theatre tradition which has responded energetically to the country's remarkable transition, helping to define the challenges and contradictions of this young democracy. This volume considers the variety of theatre forms, and the work of the major playwrights and theatre makers producing work in democratic South Africa. It offers an overview of theatre pioneers and theatre forms in Part One, before concentrating on the work of individual playwrights in Part Two. Through its wide-ranging survey of indigenous drama written predominantly in the English language and the analysis of more than 100 plays, a detailed account is provided of post-apartheid South African theatre and its engagement with the country's recent history. Part One offers six overview chapters on South African theatre pioneers and theatre forms. These include consideration of the work of artists such as Barney Simon, Mbongeni Ngema, Phyllis Klotz; the collaborations of William Kentridge and the Handspring Puppet Company; the work of Magnet Theatre, and of physical and popular community theatre forms. Part Two features chapters on twelve major playwrights, including Athol Fugard, Reza de Wet, Lara Foot, Zakes Mda, Yaël Farber, Mpumelelo Paul Grootboom, Mike van Graan and Brett Bailey. It includes a survey of emerging playwrights and significant plays, and the book closes with an interview with Aubrey Sekhabi, the Artistic Director of the South African State Theatre in Pretoria. Written by a team of over twenty leading international scholars, The Methuen Drama Guide to Contemporary South African Theatre is a unique resource that will be invaluable to students and scholars from a range of different disciplines, as well as theatre practitioners. |
| tshepang play: Tshepang: The Third Testament Lara Foot Newton, 2005-09 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. |
| tshepang play: Forays into Contemporary South African Theatre , 2019-11-11 In the years that followed the end of apartheid, South African theatre was characterized by a remarkable productivity, which resulted in a process of constant aesthetic reinvention. After 1994, the “protest” theatre template of the apartheid years morphed into a wealth of diverse forms of stage idioms, detectable in the works of Greg Homann, Mike van Graan, Craig Higginson, Lara Foot, Omphile Molusi, Nadia Davids, Magnet Theatre, Rehane Abrahams, Amy Jephta, and Reza de Wet, to cite only a few prominent examples. Marc and Jessica Maufort’s multivocal edited volume documents some of the various ways in which the “rainbow” nation has forged these innovative stage idioms. This book’s underlying assumption is that creolization reflects the processes of identity renegotiation in contemporary South Africa and their multi-faceted theatrical representations. Contributors: Veronica Baxter, Marcia Blumberg, Vicki Briault Manus, Petrus du Preez, Paula Fourie, Craig Higginson, Greg Homann, Jessica Maufort, Marc Maufort, Omphile Molusi, Jessica Murray, Jill Planche, Ksenia Robbe, Mathilde Rogez, Chris Thurman, Mike van Graan, and Ralph Yarrow. |
| tshepang play: A Century of South African Theatre Loren Kruger, 2019-11-28 “Theatre is not part of our vocabulary”: Sipho Sepamla's provocation in 1981, the year of famous anti-apartheid play Woza Albert!, prompts the response, yes indeed, it is. A Century of South African Theatre demonstrates the impact of theatre and other performances-pageants, concerts, sketches, workshops, and performance art-over the last hundred years. Its coverage includes African responses to pro-British pageants celebrating white Union in 1910, such as the Emancipation Centenary of the abolition of British colonial slavery in 1934 organized by Griffiths Motsieloa and HIE Dhlomo, through anti-apartheid testimonial theatre by Athol Fugard, Maishe Maponya, Gcina Mhlophe, and many others, right up to the present dramatization of state capture, inequality and state violence in today's unevenly democratic society, where government has promised much but delivered little. Building on Loren Kruger's personal observations of forty years as well as her published research, A Century of South African Theatre provides theoretical coordinates from institution to public sphere to syncretism in performance in order to highlight South Africa's changing engagement with the world from the days of Empire, through the apartheid era to the multi-lateral and multi-lingual networks of the 21st century. The final chapters use the Constitution's injunction to improve wellbeing as a prompt to examine the dramaturgy of new problems, especially AIDS and domestic violence, as well as the better known performances in and around the Truth and Reconciliation Commission. Kruger critically evaluates internationally known theatre makers, including the signature collaborations between animator/designer William Kentridge, and Handspring Puppet Company, and highlights the local and transnational impact of major post-apartheid companies such as Magnet Theatre. |
| tshepang play: African Film and Literature Lindiwe Dovey, 2009-05-20 Analyzing a range of South African and West African films inspired by African and non-African literature, Lindiwe Dovey identifies a specific trend in contemporary African filmmaking-one in which filmmakers are using the embodied audiovisual medium of film to offer a critique of physical and psychological violence. Against a detailed history of the medium's savage introduction and exploitation by colonial powers in two very different African contexts, Dovey examines the complex ways in which African filmmakers are preserving, mediating, and critiquing their own cultures while seeking a united vision of the future. More than merely representing socio-cultural realities in Africa, these films engage with issues of colonialism and postcolonialism, updating both the history and the literature they adapt to address contemporary audiences in Africa and elsewhere. Through this deliberate and radical re-historicization of texts and realities, Dovey argues that African filmmakers have developed a method of filmmaking that is altogether distinct from European and American forms of adaptation. |
| tshepang play: PACSA Newsletter , 2003 |
| tshepang play: Speaking Our Selves Asiimwe Deborah Kawe, Robert H. Vorlicky, 2025-03-04 Speaking Our Selves brings together eight remarkable plays by women writers from the under-represented African countries of Tanzania, Mozambique, Ethiopia, Mali, Burundi, Benin, and Sudan, plus a play by award-winning Ugandan playwright and volume coeditor Asiimwe Kawe. Four of the plays are translated into English from Kiswahili, French, or Kirundi and French, while most of the plays preserve African indigenous languages, including Runyankore, Lusoga, Mina, Fon, Bambara, Luganda, Kiswahili, and Kirundi. Although the plays are united in presenting women as central figures who own their voices, they also represent a rich diversity of story-telling. Each unique dramaturgy is rooted in African forms of story-telling that occasionally merge with recognizable Western forms to create hybrid, dramatic forms. These hybrid methods emphasize the striking ways in which African women writers continue to experiment with form, moving beyond Western-influenced dramaturgy if and when it jeopardizes their authentic ways of artistic expression and creation through language, movement, and music, centered in African Cosmology. The plays within Speaking Our Selves confront a range of ideas and issues, including women embracing the potential of agency in often contested subject positions; confronting their historical object positions in worlds of devastating patriarchal authority; resisting toxic masculinity and persistent, oppressive binaries of gender roles; finding power in communities of women; increasing their acumen in financial, business, and economic spheres; facing tensions between traditional religious tenets and efforts toward secularization; living with perpetual acts of violence toward their bodies; and the rising mental health issues among girls and women across the continent. Readers and audiences are challenged by these plays not to be passive witnesses by observing from safe vantage points, but rather to be active participants in the stories being told. |
| tshepang play: Seattle Journal for Social Justice , 2004 |
| tshepang play: Plays International , 2006 |
| tshepang play: Rape on the Contemporary Stage Lisa Fitzpatrick, 2018-01-22 This book investigates the representation of rape in British and Irish theatre since the second wave of the Women’s Movement. Mainly focusing on the period from the 1990s to the present, it identifies key feminist debates on rape and gender, and introduces a set of ideas about the function of rape as a form of embodied, gendered violence to the analysis of dramaturgical and performance strategies used in a range of important and/or controversial works. The chapters explore the dramatic representation of consent; feminist performance strategies that interrogate common attitudes to rape and rape survivors; the use of rape as an allegory for political oppression; the relationships of vulnerability, eroticism and affect in the understanding and representation of sexual violence; and recent work that engages with anti-rape activism to present women’s personal experiences on stage. |
| tshepang play: Drum , 2007 |
| tshepang play: Southern African Linguistics and Applied Language Studies , 2006 |
| tshepang play: Poison: A Play in one Act Sandile Mdlongwa, 2023-12-01 The Gender Parity and Equality Committee is a team of five delegates from varying constituencies appointed by a legislative body that enacts, ratifies and repeals bills known as the People's Assembly. Their mandate is to produce a report on the state of gender politics, to be debated during a sitting of the Assembly to pass the Gender-Parity and Women Empowerment Bill. The sensitive nature of the topics around masculinity, femininity, sexual orientation, sexuality, gender and religion sees tensions brewing as early as the first committee meeting. Can middle ground be found where there are clashes in perceptions, moral compasses and perhaps a general lack of consciousness? |
| tshepang play: Global Practices and Training in Applied Sport, Exercise, and Performance Psychology J. Gualberto Cremades, Lauren S. Tashman, 2016-05-20 Global Practices and Training in Applied Sport, Exercise, and Performance Psychology offers case analysis as a vehicle to address issues and experiences in the application of sport, exercise, and performance psychology (SEPP) and the supervision/training of individuals to become professionals in the field. A follow-up to Becoming a Sport, Exercise, and Performance Psychology Professional (2014), this book features a discussion of real-world case examples which highlight various aspects of professional practice as well as supervision and training. Professionals from around the world, including the United States and Canada, Europe, Asia, Africa, and Australia share diverse experiences, providing a uniquely in-depth, global perspective. The case studies contained in the book were selected to provide insight into specific elements of applied practice and supervision/training through a global lens as well as demonstrate the value of incorporating case analysis and reflection into one’s training and continued professional development. Case analysis is an essential part of learning and instruction. Beyond educating the reader about theories and research on related topics in the field, case analysis allows for more complex levels of learning, including analysis, synthesis, and evaluation of diverse scenarios. In Part I of this book, the cases focus on applied SEPP practice; Part II is comprised of cases that focus on training and supervision. This book is essential reading for graduate students and neophyte professionals in the field for whom it is critical to learn how to effectively apply knowledge to real-world sport, exercise, and performance psychology scenarios. In addition, the book is a useful resource for seasoned and expert practitioners and supervisors who can use case analysis as a means of continuing their professional development. |
| tshepang play: Karoo Moose Lara Foot Newton, 2009 Winner of fourteen top South African awards, including Best New South African Play. |
| tshepang play: Theatre in Transformation Wolfgang Schneider, Lebogang L. Nawa, 2019-01-23 Are artists seismographs during processes of transformation? Is theatre a mirror of society? And how does it influence society offstage? To address these questions, this collection brings together analyses of cultural policy in post-apartheid South Africa and actors of the performing arts discussing political theatre and cultural activism. Case studies grant inside views of the State Theatre in Pretoria, the Market Theatre in Johannesburg and the Baxter Theatre in Cape Town, followed by a documentation of panel discussions on the Soweto Theatre. The texts collected here bring to the surface new faces and voices who advance the performing arts with their images and lexicons revolving around topics such as patriarchy, femicide and xenophobia. |
| tshepang play: Theatre Record , 2006 |
| tshepang play: The Botswana Law Reports , 2007 |
| tshepang play: People to People - Celebrating Ten Years of Democracy in South Africa, Switzerland 2004 Roshila Nair, 2005 |
| tshepang play: Theatre Index , 2005 |
| tshepang play: Why Do I Scream at God for the Rape of Babies? Claudia J. Ford, 2004 Infant and child rape are an unfathomable offense, so much so that it hurts to talk about it, gives us chills to read about it. Ford brings compassion and awareness to an atrocity that goes too often ignored or unreported. In the weaving together of journal entries, poems, epigrams, letters, and portions of scholarly papers, Ford sets out to leave a written testimony for her daughter and to lift the veil of secrecy as one step toward the prevention of such unspeakable assault. Sharing this story is an act of love, a project of faith, and, most of all, a declaration of the power of courage and hope.--BOOK JACKET. |
| tshepang play: The Rolex Mentor and Protégé Arts Initiative: Theatre: Sir Peter Hall and Lara Foot Newton, pathways to the stage Rolex Mentor and Protégé Arts Initiative, 2005 |
| tshepang play: In Township Tonight! David Bellin Coplan, 2008 David B. Coplan's pioneering social history of black South Africa's urban music, dance, and theatre established itself as a classic soon after its publication in 1985. Now completely revised, expanded, and updated, this new edition takes account of developments over the last thirty years while reflecting on the massive changes in South African politics and society since the end of the apartheid era. In vivid detail, Coplan comprehensively explores more than three centuries of the diverse history of South Africa's black popular culture, taking readers from indigenous musical traditions into the world of slave orchestras, pennywhistlers, clergyman-composers, the gumboot dances of mineworkers, and touring minstrelsy and vaudeville acts. |
| tshepang play: Women's Activist Theatre in Jamaica and South Africa Nicosia M. Shakes, 2023-08-15 Theater is an essential theoretical and practical site for forging Black radical thought, Africana feminisms, and womanism. Nicosia M. Shakes draws on ethnographic research in Jamaica and South Africa to analyze the vital relationship between activism and theater production. Concentrating on four performance events, Shakes situates the work of theater groups and projects within a trajectory of women-led social justice movements established in Jamaica, South Africa, and globally from the early 2000s to the present. Her analysis reveals movements driven by Black women’s artistic, intellectual, and organizational labor and focused on issues that range from sexual violence to reproductive justice to the spatial manifestations of racial, gender, and economic oppression. Shakes shows how theater’s political and pedagogical roles become entangled with histories and geographies of oppression and resistance; the identities and connections created by movements of people in the context of colonial and settler colonial histories; and ideas of womanism and feminism. |
| tshepang play: Transformative Innovation for Sustainable Human Settlements Andrew Emmanuel Okem, Sithembiso Lindelihle Myeni, Tshepang Mosiea, 2024-11-18 This book uses the transformative innovation policy (TIP) as a lens to show how innovative processes, practices and systems could address critical challenges and facilitate the delivery of sustainable human settlements in South Africa. The TIP approach shows that addressing societal problems is not a function of a technical solution within a government department but one that requires partnership with multiple stakeholders. The book argues that it is essential to understand and embrace innovation policy that is transformative and responds to the social and environmental needs at local, provincial and national levels. It demonstrates that innovation policy should focus on transforming the socio-technical systems that demand embracing notions such as experimental delivery and learning, directionality and inclusivity. Chapters explore the ability of the state to transform its organisational processes and capacity to improve and align its planning, implementation, monitoring and evaluation systems to high levels of efficiency and sustainability targets. Bringing together various theoretical and empirical perspectives on innovation in the context of sustainable human settlement, this book will be of interest to scholars and students in the fields of Housing, Human Settlements, Architecture, Public Policy, Development Studies, Civil Engineering, Political Science and Public Administration. |
| tshepang play: The Art of Human Rights Romola Adeola, Michael Gyan Nyarko, Adebayo Okeowo, Frans Viljoen, 2020-03-24 This book highlights the use of art in human rights, specifically within Africa. It advances an innovative pattern of thinking that explores the intersection between art and human rights law. In recent years, art has become an important tool for engagement on several human rights issues. In view of its potency, and yet potential to be a danger when misused, this book seeks to articulate the use of arts in the human rights discourse in its different forms. Chapters cover how music, photography, literature, photojournalism, soap opera, commemorations, sculpting and theatre can be used as an expression of human rights. This book demonstrates how arts have become a formidable expression of thoughts and a means of articulating reality in a form that simplifies truth and congregates resolve to advance change. |
| tshepang play: Kaapse bibliotekaris , 2017 Issues for Nov. 1957- include section: Accessions. Aanwinste, Sept. 1957- |
| tshepang play: Decolonising African Theatre Samuel Ravengai, 2024-04-16 Decolonisation can be pursued in different ways. After many years of developing a critical language to engage coloniality, the most urgent need in African theatre is to develop new theories and methods in our manufactories. This Element uses Afroscenology as a theory to read and comment on African theatre. The Element particularly focuses on the history of laboratories in which it was tested and emerged, the historicization of rombic theatre and the crafting of a theory of the playtext which has been named theatric theory to distinguish it from the Aristotelian dramatic theory. The second dimension of the theory is the performatic technique. This Element also explain Afrosonic mime through examples drawn from the workshops conducted in training performers. |
| tshepang play: The Fall Baxter Theatre Company, 2017-09-28 The Fall is a play collaboratively written by the original cast as a reaction to and reflection on the South African student protests in 2015 and part of 2016. The #RhodesMustFall and subsequent student-led movements in South Africa alerted the country and the world to the latent ongoing issues brought about by colonialism and apartheid in South Africa. Students were also protesting about the lack of change in the way black Africans were educated and treated at South African universities more than two decades after the end of white-minority rule. They were also angry about fee increases, which disproportionately affected black students, in a country of continued extreme income inequality. The Fall details the experiences of seven students within this movement and how they deal with their traumas, while still moving towards activism for a free decolonised education. This powerful ensemble piece goes to the heart of how race, class, gender, power and history's voices intersect. It premiered at the Baxter Theatre in Cape Town, toured to other venues in South Africa and to the Edinburgh Festival and the Royal Court Theatre, London. It was awarded The Stage Cast Award and a Scotsman Fringe First award in Edinburgh, and was described in The Stage as:a truly ensemble production which has both teeth and heart. And one which stands for student revolt around the world and down the ages. |
| tshepang play: Indigenous Language for Development Communication in the Global South Abiodun Salawu, Tshepang Bright Molale, Enrique Uribe-Jongbloed, Mohammad Sahid Ullah, 2022-11-23 This book brings together voices from the margins, within the context of indigenous languages and development communication, from underrepresented regions in terms of academic enterprise. The cases presented here serve as a starting point for multiple debates and seek to present a first glimpse of discussions within the disciplines. |
| tshepang play: Karoo Moose Lara Foot Newton, 2009-06-11 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. |
| tshepang play: Emily Green and Me Kathryn White, 2011-07-27 After years of illness, eleven-year-old Emily receives the heart of a seventeen-year-old boy who has died in a motor-bike accident. But the organ comes with an attachment:the boy who had it first is still hanging around. From'up there' he watches as she recovers - sometimes exasperated, other times with heart-warming tenderness. Their worlds couldn't be more different. Emily is from upper-middle-class Cape Town and the boy was from poorer plot-dwelling folk living near Johannesburg. While Emily struggles with becoming a teenager, the boy's interjections are a laugh a minute - not even death can dampen his streetwise spirit. Following the closely-linked fates of these two endearing characters, Emily Green and Me is the poignant story of one life interrupted and one that is just unfolding. A book for all of us who blink at the twin stars of life and death, and all that lies between. |
| tshepang play: American Theatre , 2007 |
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