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In The Washington Post, after viewing the play during a "regrettably brief" run of four performances at the John F. Kennedy Center for the Performing Arts, William Triplett described it to readers as a "stunningly theatrical multimedia piece that drives home the atrocity known as apartheid without ever uttering the words 'atrocity' or ...
The travails of apartheid South Africa speak to today's rise in authoritarianism, which William Kentridge probes in his art. Review: William Kentridge's sprawling Broad installation is an ...
Felicia, Lady Kentridge (née Geffen; 7 August 1930 – 7 June 2015) was a South African lawyer and anti-apartheid activist who co-founded the South African Legal Resources Centre (LRC) in 1979. [1] The LRC represented black South Africans against the apartheid state and overturned numerous discriminatory laws; Kentridge was involved in some of ...
The reforms promised in the speech included the unbanning of the African National Congress (ANC) and other anti-apartheid organisations, the release of political prisoners including Nelson Mandela, the end of the state of emergency, and a moratorium on the death penalty. [2] [3] [4] [5]
Enough cannot be said about the singing, the dancing, the costume and production design and more in William Kentridge's chamber opera, in which noted intellectuals and artists flee 1941 France.
The Sharpeville massacre had jolted the global neighbourhood, with the apartheid regime showing that it would use violent behaviour to repress opposition to racial inequity. Many Western states began to see apartheid as a possible danger to global harmony, as the policy caused much intercontinental abrasion over human-rights violation.
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Audiences were generally and genuinely touched by the play. "A friend was deeply moved by the Dead Wait," recalled William Kentridge, "the play about the war in Angola. He had served as a soldier in that war." [1] The play was staged during Autumn of 2002 under the direction of Jacob Murray, at the Royal Exchange Theatre.