intimating a terrible, looming future. The colonial and
domestic perspectives were not successfully married in a single
production until the one that garnered the greatest critical attention
from outside Africa: Yael Farber’s 2001 SeZaR, produced for
the Grahamstown National Festival of the Arts and restaged at several
regional theatres in the UK the following year. Breaking from South
those objects as part of culture is addressed in Chapter 7 .
See Karin Barber, Africa’s Hidden
Histories: Everyday Literacy and Making the Self
.xiii). Oliver Cotton’s Hieronimo tried to be objective
about the agonies he asked the artist to depict; he made ‘I do
brave things’ confessional. Drury, that is, showed how the
Additions allow Hieronimo to investigate his own madness.
The NT and RSC, however, preferred Kyd’s original
structure. In both cases the repertoire situation was significant. Under
Peter Hall the National was pursuing a ‘library’ policy
Erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630
political gain. 2 When a Christian converted to Islam, this
was nearly always described as a betrayal motivated by avarice,
lust, or a combination of both. An English captivity narrative from
1622, The famous and wonderful recovery of a ship of Bristol ,
claimed that many Christian captives in North Africa converted to
Islam because they were tortured or threatened with violence, but
11(4) ( 2002 ): 225–233, pp.
See www.hlf.org.uk/Pages/Home.aspx (accessed 22.08.12). The
policy implications of using the HLF are discussed in Chapter 6 , p. 153.
backfilled, the well was
raised to ground level and covered to become a focal point ( Figure 7.13 ). Over time, this well became a
structure of commemoration. Visitors threw an array of objects,
including of course coins, into it. Dig for Shakespeare revealed several
thousand coins spanning the entire period of years since the 1860s, and
from a variety of countries including South Africa, the United States of