Question Three. The way a play is staged can have a significant effect on the meanings made by the audience. To what extent have choices n the staging of No Sugar contributed to the meanings you have made concerning ethnicity and identity. The post-colonialist play No Sugar, penned by playwright Jack Davis in nineteen eighty six, invites the audience to critique (and ultimately condemn) the ethnocentrism and ideologies supported by white Anglo-Saxon Christians in the early nineteen thirties in Western
Symbols of Evolution Two billion years ago two prokaryotes bumped into each other and formed the first multi-cellular organism. 65 million years ago an asteroid hit the earth and dinosaurs became extinct. Three days ago, in your notebook, you drew a mess of squiggles which to you represented Jackson Pollock's painting, Number 1, 1948. You wrote the word entropy on the upper left hand corner of the page. On the bottom right hand side you wrote, Creativity is based on randomness and chance.
world, he toured around Africa while working on a merchant ship where he began writhing. In 1956 Fugard married Sheila Meiring, a South African actress and writer. He wrote his first play klaas and the devil.(1956) He there after wrote No-Good Friday (1958) ,the cell (1957) and nongogo (1959) which was his first ever play to be produced abroad in Sheffield, England and in New York, USA. In the years 1958-1961 Fugard worked with the Union Artists in Johannesburg. (The Union of South African Artists
My paper will attempt to critically analyze the representation of history and identity in Ruby Daniel’s memoir, Ruby of Cochin: An Indian Jewish Woman Remembers, published in 2002. It is a landmark work since it being the first memoir “written by a Jewish woman from the Indian community of Cochin” (Irene Eber). Situated within the context of Cochin Jews, Daniel attempts to interlink a series of personal lived histories with the larger national histories. Using the case study of Cochin Jews, the writer