Africa
Education
Joburg
South Africa
Greatest AfricansAfricaEducationJoburgSouth AfricaGreatest AfricansWhat if ethical decisions in the country were made over the toxic partnership of a chalk circle on the floor and the noble whims of a mad genius? April 23rd saw the denouement of an exhilarating stage play titled The Caucasian Chalk Circle at Joburg Theatre, which ran from 18 days earlier. Directed by Lebohang Motaung, it featured a superlative cast which included Aubrey Poo, Mimi Mahlasela, Koketso Motlhabane, Nyeleti Ndubane, Neka Da Costa and Jacques Wolmarans.
Based on Bertholt Brecht’s Epic Theatre, The Caucasian Chalk Circle stays relevant to the ethical issues we face through socioeconomic and political categories in the country. In a story predicated on a land dispute between two groups from the mythical town of Grusinia; one of which claims rights to land by virtue of being indigenous inhabitants, while the other seeks to use the land for commercial purposes, the play seems to use the kitchen maid Grusha, acted out by Koketso Motlhabane, as a parabilistic tool to make the case for the indigenous group. Perhaps this view is further expressed by her sobriquet which seems to be derived from the town’s own name.
Following this line of thought, Grusha begins the symbolic remonstrations for the indigenous group by taking in the abandoned child, Michael, who was left in a haste by his mother and governor’s wife, played by Neka da Costa, the latter representing the commercially persuaded group. Michael became a subject of danger from then on, and with his life at stake, Grusha took in the burden of protecting him. At the heart of this symbolism is not the biological identity of the child, but rather the ethical representation in the relationship between Grusha and child, Michael, as between the indigenous and their native land.
The other themes that are explored are issues such as child neglect, women abuse, corruption and divisions between rich and poor. However, what cushioned the sometimes overbearingly serious issues was the humour which perforates the whole play. Aubrey Poo, who tripled as a composer, narrator and the character Azdak often the framed the comical tones in the play. The use of local parlance exhibited through the many roles played by the talented Nyeleti Ndubane also offered the audience a refreshingly familiar element in a stage play originally set in post-war Germany. The play stroke a required balance between entertainment and education.
Grusha, in her heroic escape from the soldiers, met a number of interesting challenges, from purchasing overpriced milk from a local farmer to marrying a bed-ridden patient for her and Michael's protection. The arranged marriage added another complexity to Grusha's social life, as her de facto lover Simon Shashava found out to his devastation upon his return to Grusinia from the war two years later. This coincides with Michael's mother's return to the town. Her claim to Michael was driven by financial persuasions as Michael was heir to the deceased governor’s estate.
At court they meet the erratic Azdak as the newly re-appointed judge, whom director Lebohang Motaung commends for his disregard for authority, especially in an inherently unethical system. The governor’s wife presented her case to the judge through her two lawyers, while Grusha only had Simon and one of the governor’s former cooks to vouch for her. After hearing both their cases the judge ordered for a chalk circle to be drawn on the floor and asked Michael to be placed in the center of the circle and be pulled by both mothers, the winner being the one who can pull the child out of the circle. Grusha couldn’t perform this task on two occasion for fear of hurting the child Michael. In a Bizarre but not uncharacteristic twist of judgement from Azdak, Grusha was ruled to keep the child instead of the money-seeking Governor’s wife. The Judge does Grusha an extra solid by signing off divorce papers from her arranged marriage with the farmer who was once “ill” and bedridden, which then opened up the opportunity to be with her true love Simon.
It is here where there’s a symbolic judgement of the land dispute as well, where Grusha’s representation of the indigenous seems to triumph over capitalistic greed. Having gotten the chance to interview both Koketso Motlhabane and Mimi Mahlasela, I tend to agree with the latter’s sentiments that “theatre is more raw and true as opposed to Television which is often saturated with make-belief”. Perhaps this element of theatre meets the realism of the issues presented, especially as experienced in our country and others in a similar position. Koketso also sees the appointment of peasant Azdak as the judge as an important moment in the play as it depicts the contradiction of the nobility appointing peasants in official position. All-round, the different elements of the play made for a riveting experience for the audience, with the perfectly orchestrated tragicomedy element its biggest selling point. More tragic than comical, though, is if you could not make the time in the 18-day run of the stage play to feast your senses with what was a true marker of art
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