Woza Albert! - Barney Simon, Percy Mtwa, Mbongeni Ngema
Context and Influences
● Apartheid - first performed in 1981; segregation laws such e.g group areas, pass
systems
● Political Events - 1960: Sharpeville; 1976: Soweto Uprising; media attention,
beginning of resurgence of resistance
● Leadership - many anti-apartheid leaders either dead or imprisoned; call for new
leadership, and praise for leaders of the past
● Christianity - used to justify apartheid; creators calling out apartheid leaders by using
Morena in support of the struggle
Intentions
● Highlight/expose human rights violations during apartheid
● Social criticism and self expression
● Commemorate struggle heroes of the past (Luthuli, Biko, Ngoyi etc.)
● Encourage new leaders to come forward
● A reminder of the harsh reality of apartheid to avoid repetition
● Inspire audience (locally and internationally) to protest
Genre and Playmaking Process
● Protest Theatre - uses various techniques (singing, dancing, mime) to portray a
political message of protest; satirical in nature; encourages black consciousness
● Workshopped Theatre - Idea/intention; observation/research; improvisation;
selection; recording
Style
● Grotowskian Poor Theatre - disturb the peace and move audience; actor-audience
relationship emphasized, close to one another (holy actor, voyeur viewer); stripped of
excessiveness (simple costumes, basic set, prop transformation, multi-rolling - ‘poor’)
● Brechtian Epic Theatre - encourage critical thinking and engage audience; highlights
importance of storytelling (imaginarration); swift, epic scene changes in front of
audience (high engagement); representational set and props, not full costumes (e.g.
clown nose); actor is a demonstrator of an archetype (playing a role, not character)
bodies used to make sounds (ideophone)
Dramatic Action
● Multiple short scenes (26 scenes in total)
● ‘What would it be like if Jesus (Morena) came to South Africa?’
● Looks at multiple perspectives
● Ends with Morena raising past struggle leaders from the dead
Context and Influences
● Apartheid - first performed in 1981; segregation laws such e.g group areas, pass
systems
● Political Events - 1960: Sharpeville; 1976: Soweto Uprising; media attention,
beginning of resurgence of resistance
● Leadership - many anti-apartheid leaders either dead or imprisoned; call for new
leadership, and praise for leaders of the past
● Christianity - used to justify apartheid; creators calling out apartheid leaders by using
Morena in support of the struggle
Intentions
● Highlight/expose human rights violations during apartheid
● Social criticism and self expression
● Commemorate struggle heroes of the past (Luthuli, Biko, Ngoyi etc.)
● Encourage new leaders to come forward
● A reminder of the harsh reality of apartheid to avoid repetition
● Inspire audience (locally and internationally) to protest
Genre and Playmaking Process
● Protest Theatre - uses various techniques (singing, dancing, mime) to portray a
political message of protest; satirical in nature; encourages black consciousness
● Workshopped Theatre - Idea/intention; observation/research; improvisation;
selection; recording
Style
● Grotowskian Poor Theatre - disturb the peace and move audience; actor-audience
relationship emphasized, close to one another (holy actor, voyeur viewer); stripped of
excessiveness (simple costumes, basic set, prop transformation, multi-rolling - ‘poor’)
● Brechtian Epic Theatre - encourage critical thinking and engage audience; highlights
importance of storytelling (imaginarration); swift, epic scene changes in front of
audience (high engagement); representational set and props, not full costumes (e.g.
clown nose); actor is a demonstrator of an archetype (playing a role, not character)
bodies used to make sounds (ideophone)
Dramatic Action
● Multiple short scenes (26 scenes in total)
● ‘What would it be like if Jesus (Morena) came to South Africa?’
● Looks at multiple perspectives
● Ends with Morena raising past struggle leaders from the dead
