🎭 Study Guide: You Strike a Woman, You
Strike a Rock
Compiled by Miss M Mchunu
First Performed: 1986 at The Market Theatre, Johannesburg
Created by: The Women's Theatre Group (Pamela Nomvete, Thembi Mtshali, Thuli
Dumakude, and others under the direction of Malcolm Purkey and Barney Simon)
📍 1. Socio-political Background
Historical Context:
Set in the 1980s, during the height of apartheid in South Africa.
A time of mass resistance, states of emergency, brutal police crackdowns, and
national liberation movements.
Inspired by the 1956 Women’s March, where over 20,000 women marched to the
Union Buildings against pass laws.
Women in South Africa were doubly oppressed: by the state (race) and in their
homes/society (gender).
Significance of the Title:
Translates from the isiZulu protest chant: "Wathint’ Abafazi, Wathint’ Imbokodo!"
Symbolises the resilience, strength, and collective power of women.
Serves as both a warning and declaration: women will not be passive victims.
✍️
2. Playwright’s and Ensemble’s Influence
The Women's Theatre Group:
This was a collectively devised piece – meaning it was created by the performers
through improvisation, storytelling, and workshops.
It reflected real stories from women in townships, rural areas, and urban
communities.
Influenced by the Workshop Theatre Movement and the work of Barney Simon,
Athol Fugard, and protest theatre traditions.
Theatrical Inspirations:
Poor Theatre (Jerzy Grotowski): Emphasis on actor’s body and voice rather than set
or props.
, Brechtian Epic Theatre: Use of alienation techniques to provoke critical thought, not
emotional escape.
Theatre for Liberation: Popular in SA’s townships – combining activism with
storytelling.
🎭 3. Characters and Plot
No traditional protagonist.
A cast of three women actors perform multiple roles.
Characters include: a domestic worker, a mother, a factory worker, a teacher, a drunk
husband, police officers, children, and political activists.
Narrative Style:
Fragmented scenes.
No single plot, but interwoven stories showing:
o Economic exploitation
o Domestic abuse
o Political activism
o Family resilience
o Women's contribution to liberation movements
🧵 4. Performance Style and Techniques
Devised Theatre: Built from the performers’ lived experiences and research.
Multi-role Acting: Each actor plays multiple characters, often switching quickly with
small physical changes.
Minimal Props and Sets: Focus is on storytelling, movement, and emotion.
Physical Theatre: Body movement and gesture used expressively.
Direct Address: Characters break the fourth wall to speak directly to the audience.
Chorus and Repetition: Used in songs, chants, and slogans.
Multilingual Performance: English, isiZulu, Xhosa, and Afrikaans.
🎨 5. Design Elements
Set Design:
Sparse. Items like buckets, washing lines, stools, and simple furniture are used
symbolically.
Scenes shift quickly from kitchens to protest marches without major set changes.
Strike a Rock
Compiled by Miss M Mchunu
First Performed: 1986 at The Market Theatre, Johannesburg
Created by: The Women's Theatre Group (Pamela Nomvete, Thembi Mtshali, Thuli
Dumakude, and others under the direction of Malcolm Purkey and Barney Simon)
📍 1. Socio-political Background
Historical Context:
Set in the 1980s, during the height of apartheid in South Africa.
A time of mass resistance, states of emergency, brutal police crackdowns, and
national liberation movements.
Inspired by the 1956 Women’s March, where over 20,000 women marched to the
Union Buildings against pass laws.
Women in South Africa were doubly oppressed: by the state (race) and in their
homes/society (gender).
Significance of the Title:
Translates from the isiZulu protest chant: "Wathint’ Abafazi, Wathint’ Imbokodo!"
Symbolises the resilience, strength, and collective power of women.
Serves as both a warning and declaration: women will not be passive victims.
✍️
2. Playwright’s and Ensemble’s Influence
The Women's Theatre Group:
This was a collectively devised piece – meaning it was created by the performers
through improvisation, storytelling, and workshops.
It reflected real stories from women in townships, rural areas, and urban
communities.
Influenced by the Workshop Theatre Movement and the work of Barney Simon,
Athol Fugard, and protest theatre traditions.
Theatrical Inspirations:
Poor Theatre (Jerzy Grotowski): Emphasis on actor’s body and voice rather than set
or props.
, Brechtian Epic Theatre: Use of alienation techniques to provoke critical thought, not
emotional escape.
Theatre for Liberation: Popular in SA’s townships – combining activism with
storytelling.
🎭 3. Characters and Plot
No traditional protagonist.
A cast of three women actors perform multiple roles.
Characters include: a domestic worker, a mother, a factory worker, a teacher, a drunk
husband, police officers, children, and political activists.
Narrative Style:
Fragmented scenes.
No single plot, but interwoven stories showing:
o Economic exploitation
o Domestic abuse
o Political activism
o Family resilience
o Women's contribution to liberation movements
🧵 4. Performance Style and Techniques
Devised Theatre: Built from the performers’ lived experiences and research.
Multi-role Acting: Each actor plays multiple characters, often switching quickly with
small physical changes.
Minimal Props and Sets: Focus is on storytelling, movement, and emotion.
Physical Theatre: Body movement and gesture used expressively.
Direct Address: Characters break the fourth wall to speak directly to the audience.
Chorus and Repetition: Used in songs, chants, and slogans.
Multilingual Performance: English, isiZulu, Xhosa, and Afrikaans.
🎨 5. Design Elements
Set Design:
Sparse. Items like buckets, washing lines, stools, and simple furniture are used
symbolically.
Scenes shift quickly from kitchens to protest marches without major set changes.
