John Kani Embraces the Political
Stage
South African theatre artist speaks to the
world
By Sarah B. Hood
John Kani inhabits the place where world theatre and
South African politics intersect, and it's a pretty
interesting spot. In his 40-odd years as a theatre artist he
has watched the issues of his own country taking their place
on the world stage. Sometimes, ironically, this has meant that
he hasn't been free to perform his own work in his own land.
On the other hand, he has had the satisfaction of seeing how
theatre itself can play a powerful role in healing a wounded
nation, and in taking the message of human freedom to the
world.
In 1965 Kani joined playwright Athol Fugard and actor
Winston Ntshona in the Serpent Players. He performed with the
company in the original productions of such modern classics as
Sizwe Banzi is Dead; Master Harold and the Boys, and My
Children! My Africa! (Kani has appeared in the latter play at
Toronto's World Stage Festival.)
In 1973 Kani, Ntshona and Fugard set out to create a
play that would bring attention to the plight of political
prisoners (like Nelson Mandela) in the notorious prison on
Robben Island. Friends and relatives of company members were
jailed there, but those outside the prison knew little about
what was going on inside, and were reluctant to discuss it
publicly.
The Island, starring Kani and Ntshona, was performed
only twice in Cape Town, but reached a huge international
audience through performances in London, New York and
Australia. "It was a massive political statement," says Kani.
"It was protest theatre. It paved the way for a theatre of
revolution in South Africa."
Upon their return to South Africa, Kani and Ntshona
continued their brand of theatrical agitation. It did not go
unnoticed. "We were in 1976 plucked from stage and taken into
solitary confinement," says Kani. Both were detained for 23
days.
"In 1985 I did Miss Julie in South Africa. For the
first time there was a Black man kissing a White woman on
stage. There were staged walkouts; every night there were
threats of bombs in the theatre." Two years later, playing in
Shakespeare's Othello, Kani was once again detained and
questioned by the police. Why was he kissing Desdemona on the
lips when the script called only for a brief embrace?
"When Lord Olivier did this play with Maggie Smith,
his black make-up kept rubbing off on her, so they couldn't
exploit the love relationship," Kani responded. "I don't have
that problem, sir."
The political forces, once unleashed in South African
theatre, were insistent. Towards the end of the struggle
against apartheid, "We made a joke that we had about 18 plays
demanding Mandela's release; when he was set free, they all
went in the garbage," says Kani.
The fall of the White regime brought about instant
changes, theatrical as well as social. "Immediately the white
producers began to import plays from the west," Kani says.
(Boycotts had previously prevented them from bringing in
London and New York productions.) "Younger writers began to
write plays about understanding the new political climate. At
the same time we introduced edutheatre: the culture of getting
our young people back into the classroom," he says. "We had a
huge community of high-school dropouts." These shows addressed
a wide range of issues like "violence, crime, drugs, teenage
pregnancy, African family structure."
In 1995 President Mandela asked Kani and Ntshona to
remount The Island. Performing before "nearly 300 ex-Robben
Island inmates, we tried in that performance to remember the
suffering of the people at that time," says Kani. "When
President Mandela stood up, there was 15 minutes of applause."
At the invitation of renowned European theatre
director Peter Brook, The Island has now been remounted with
both Kani and Ntshona, and is touring to Paris, Stockholm and
London, as well as Toronto. "Peter Brook gave us a fresh
non-political look at this piece of work," says Kani. He
describes the tearful thanks he received backstage after a
Paris performance from three young people who had been
imprisoned in Israel. "That's how universal the play has
become," he continues.
The present tour is certainly a triumphal one, but it
has another quality as well. "We know about Canada. We know
the positive role the Canadian people played in the struggle,"
Kani says. "It's almost like we've come to say thank you to
the Canadian people."
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