{'fraction_non_alphanumeric': 0.01892744479495268, 'fraction_numerical': 0.0, 'mean_word_length': 5.100961538461538, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Remembering You Like Something I'd Forgotten: Memory, Identity and Form in Current South African Theatre-making

This article analyses the production of Remembering You Like Something I’d Forgotten as an example of current theatre-making in South Africa. Since the establishment of a democratic government and the demise of the iconic ‘apartheid’ identity in South Africa, theatre-makers have been exploring how to present a distinctly South African voice. The creation of this identity has involved coming to terms with the colonial past, with the atrocities of apartheid in particular, and also involves the important process of imagining the future. Catherine Hall argues that for many modern states the task is to find an identity for themselves in a ‘postnation’ existence where the idea of nationhood has changed from a singular homogeneous identity reinforced by one view of history to an understanding that nationhood now involves ‘imagining a different kind of future, one that depends on notions of mix and refuses ethnic purity, that is inclusive and culturally diverse’. In pulling away from the past we seem driven to establish culturally not only what is distinct about South Africa, in contrast to the rest of the world, but also to create for ourselves