The Island, by Athol Fugard, John Kani and Winston Ntshona, is one of South Africa’s most famous and beloved plays—and rightly so. I saw a performance of it in 1995 with the original cast; I was a teenager, and it transformed my understanding of theatre. In the play
, two men, political activists, are imprisoned on ‘the island’ (an unnamed Robben Island). The prisoners spend their days performing futile, humiliating physical labour and their nights dreaming about freedom and rehearsing for a performance of
Sophocles’
Antigone in front of the other prisoners. The play is a dazzling syncretic merging of various theatrical forms, from South African workshop theatre to Polish theatre theorist Jerzy Grotowski’s stripped-down
Poor Theatre, to a classical Greek play about war, resistance, ancestry, dignity and land to create a singular work.
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