Monologues about apartheid

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monologues about apartheid

Athol Fugard PlaywrightAuthor Log in to add to your bookmarks! Log in to add yourself as a fan!Finding my root is a challenging monologue for one female actress in which a young woman explores her roots, in the hope of getting closure and finding her biological father whom she never met. Only once she knows where she came from, will she truly be able to know who she is. A complex South African monologue for a female actors, suitable for use for an arts festival or for drama at high school or university level.

The actress should be capable of portraying many different characters, both male and female and of different ages. A challenging piece for the aspiring young actress.

Age of the actor: Late teens to early twenties but since she plays so many roles of different ages, some flexibility is allowable. The Happy Hornbill — play scripts about abuse in the family My child — drama about an unwanted teen pregnancy Choices — South african teen play about the consequences of bad choices in your life.

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Learn how your comment data is processed. Author: Nanziwe Mzuzu Genre: South African monologue, drama Type: One act monologue Cast: 1F Age of the actor: Late teens to early twenties but since she plays so many roles of different ages, some flexibility is allowable.

Other dramas that deal with similar issues: The Happy Hornbill — play scripts about abuse in the family My child — drama about an unwanted teen pregnancy Choices — South african teen play about the consequences of bad choices in your life.

Previous Post Forgotten — two act fantasy play for high school Next Post Barred — short one act comedy-drama.

A monologue from DEFIANCE, a South African post-apartheid Political Theatre play

Leave a Reply Cancel reply You must be logged in to post a comment. Online Play Publishers and Distributors.Looking for a monologue that features people of color? These monologues all find black men and women fighting for relationships, their families, and in the ongoing battle for equal rights.

He happens upon a young white girl chasing butterflies and also ducking farm work. The two enjoy an innocent, witty and simultaneously dangerous flirtation—one that could have dangerous consequences in the Jim Crow South. Female, Dramatic, 20s — 40s Lavinia, an actress, must support her dream with two jobs, each of which strains the amiable facade she has struggled to create. She is worried about her ill father and watching his lack of desire to recover; Lavinia sees in her father her own lifelong inability to fight for herself.

Her buried anger begins to explode in silent mental tirades and verbal eruptions at the most unexpected and inopportune moments. Male, Dramatic, Teens Three vastly different students from different backgrounds share their stories of schoolwork, cheating, working hard through AP classes, and sometimes even skipping class.

In this monologue, we find High school sophomore Will dealing with his changing perception of his own cultural identity. Female, Dramatic, Teens — 20s Chicago. Present day. Her uncle, Marcellus da Man, calls a press conference on CNN to announce that the bodies should be buried instead of uncovering the reality of violence in the streets of the city.

Ossian Sweet moves to the North in the Great Migration of the twenties where he meets and marries the lovely Gladys Atkinson and becomes a medical doctor in Detroit. All is fine and dandy until the Sweets are put on trial for neighborhood violence; the play ends in defending the rights of anyone to live where he or she wants in a color-blind society. This monologue is early in the play.

Ossian, now about twenty, recalls a brutal type of lynching he witnessed as a young living by the Peace River near Bartow, Florida. He was hiding in some bushes at the time. Female, Dramatic, Teens London.

Monologue without Mandela

A pub in Clapham Junction, London. Outside, the London riots are raging. Two teenage girls, Tink and Cyn, have broken into the pub and are waiting on their friend, Terra. Henry is the father of Teresa, who has gone missing amid the riots. Cyn is furious. In this monologue, She expresses disgust at the way she, herself, is treated by law enforcement, teachers, and family when, up until today, she had never committed a crime in her life.

Female, Serio-Comedic, Teens A dark and compelling vision of a world infected by violence; we find the characters in a seemingly normal detention in a seemingly normal modern-day comprehensive school. A teacher believes only education will set her pupils free, for outside the classroom, the world is in the middle of a long and bloody war. Inside the classroom, Mmoma is desperate for a boyfriend.

She is the only black person in her friend group and the only one without a boyfriend or girlfriend. She has already tried unsuccessfully to get off with Lee and Davey who are going out with Leah and Danielle respectively but, due to the conflict, there are fewer and fewer young men around. Exact location is unspecified. Perhaps you imagine him talking to us in his bedroom, a street or the park. The play, a series of interconnected monologues, describes the point at which three teenagers, Kehinde, Joanne and Rugrat, begin to grow up.

He is a black teenager who is very mature and sensible for his age with a passion for mixed-race girls. Female, Dramatic, 20s It is an ordinary day much like any other in the lives of an Afro-Caribbean family. The father is asleep after working the night shift, the mother goes shopping for food, the Sister, a young black woman, goes to work, and the brother goes to school. But at 1. The police go to the house where they inform the mother and father.After the National Party gained power in South Africa inits all-white government immediately began enforcing existing policies of racial segregation.

Under apartheid, nonwhite South Africans a majority of the population would be forced to live in separate areas from whites and use separate public facilities. Contact between the two groups would be limited. Despite strong and consistent opposition to apartheid within and outside of South Africa, its laws remained in effect for the better part of 50 years. Inthe government of President F.

Racial segregation and white supremacy had become central aspects of South African policy long before apartheid began. The controversial Land Act, passed three years after South Africa gained its independence, marked the beginning of territorial segregation by forcing black Africans to live in reserves and making it illegal for them to work as sharecroppers.

The Great Depression and World War II brought increasing economic woes to South Africa, and convinced the government to strengthen its policies of racial segregation. Bythe government had banned marriages between whites and people of other races, and prohibited sexual relations between black and white South Africans.

The Population Registration Act of provided the basic framework for apartheid by classifying all South Africans by race, including Bantu black AfricansColoured mixed race and white.

A fourth category, Asian meaning Indian and Pakistani was later added. In some cases, the legislation split families; parents could be classified as white, while their children were classified as colored. In order to limit contact between the races, the government established separate public facilities for whites and non-whites, limited the activity of nonwhite labor unions and denied non-white participation in national government.

monologues about apartheid

Separating black South Africans from each other enabled the government to claim there was no black majority and reduced the possibility that blacks would unify into one nationalist organization.

From tomore than 3. Resistance to apartheid within South Africa took many forms over the years, from non-violent demonstrations, protests and strikes to political action and eventually to armed resistance. Together with the South Indian National Congress, the ANC organized a mass meeting induring which attendees burned their pass books.

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The group had arrived at the police station without passes, inviting arrest as an act of resistance. At least 67 blacks were killed and more than wounded. Sharpesville convinced many anti-apartheid leaders that they could not achieve their objectives by peaceful means, and both the PAC and ANC established military wings, neither of which ever posed a serious military threat to the state. Bymost resistance leaders had been captured and sentenced to long prison terms or executed.

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Inwhen thousands of black children in Soweto, a black township outside Johannesburg, demonstrated against the Afrikaans language requirement for black African students, the police opened fire with tear gas and bullets. The protests and government crackdowns that followed, combined with a national economic recession, drew more international attention to South Africa and shattered all illusions that apartheid had brought peace or prosperity to the nation.

Inthe United Kingdom and United States imposed economic sanctions on the country. Under pressure from the international community, the National Party government of Pieter Botha sought to institute some reforms, including abolition of the pass laws and the ban on interracial sex and marriage. The reforms fell short of any substantive change, however, and by Botha was pressured to step aside in favor of F.

De Klerk freed Nelson Mandela on February 11, A new constitution, which enfranchised blacks and other racial groups, took effect inand elections that year led to a coalition government with a nonwhite majority, marking the official end of the apartheid system.From the township drama, to the South African pantomime as well as dramas and South African Comedies, we have it all.

A Cut Above the Rest — a farce in one act. A Snitch in Time — time travelling comedy adventure for teens and young people. Aboard Disorder — Short satire about Mental Disorders. After Ever After — a fairytale musical for schools. Anna, alone — one act drama about a girl dealing with multiple personality disorder.

Arcanum — one act comedy about friends and love. Chatter — a love story and a case of mistaken identity in one act. Chicken, airbags and wors — South African comedy scripts. Choices — South African plays for teenagers.

Comrade Babble — a political satire about an undead businessman, with unfinished business.

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Extra Lessons — a play dealing with the taboo of teacher student relations. Finding my Root — South African Monologue. Guy meets Girl — a one man comedy show or routine. Happy Reality — fairytale story for adults. Jerico — script about the fall of Jerico and of man. Joined at the hip — South African comedy scripts.

Jump — one act drama about teen suicide. Le Shaggy dog — award winning comedy set in wartime Franc e.

Monologues

Leonardo — a murder mystery set around Leonardo Da Vinci. Miss Independent — one act comedy about what not to do when your marriage goes down the toilet. My Middle Name is Angry — a two-hander comedy in one act.I stood beside the rope marking the small space next to the door connecting the office with the rest of the house.

Opposite of me, on the other side, there was a door which allowed direct entrance from the garden. Left of me a massive wooden working table, behind it a cupboard filled with books and framed photographs, right of me a small shelf covered with ceramic toy-cows, his favorite animals, so we were told. I felt unpleasant, as people around me asked questions about his private life, I felt the need to grasp some air outside.

His idol was Muhammad Ali. A man who spent 27 years in prison, who led the struggle against the most notorious racist regime in the world, who refused to run for a second presidential mandate, being the first democratically elected president of South Africa, a man who did not surrender to his own fame.

Madela dialogues is the name of the programme I participated in, together with a group of people all around the world who work on programmes of remembrance related to the past of political violence. I have searched for answers to challenges and dilemmas I struggle with in my life, jointly with those whose task is to make the legacy of Nelson Mandela available and alive for the whole world.

And they are supposed to make it the way he wanted them to, not for his own sake, but for the benefit of all people. I have found in South Africa much I had not expected to find.

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The first point of the exhibit took us into a dark room with a projection wall and two circle-formed benches that we sat at watching. The animated film has begun and took us by the sound of drums through fire and water to the birth of first animals on Earth, fish, birds, mammals and finally the humans. The life was born and then the humans became. The beginning of it all. The sense of freedom. That is it. Humans, nature, freedom.

No flags, no weapons, no victims. You have joy, life, energy, movement. Pictures of museums and mausoleums back home, went through my head, exhibitions and monographs, all of their sense and senselessness, numbers, wars, victims and cycles of revenge. And I go around half of the world to be blown away by a five minute animated film, with tears in my eyes and a feeling of gratitude.

I have seen enough already. I have forgotten when was the last time I felt proud hearing the name of the country I come from. At the very end of the exhibition, highrising shelves full of medicine and canned food.

The curator explained to us, that when the news about the end of apartheid and upcoming free elections broke out, part of the people stormed the shops to set-up reserves for the chaos the feared will break out.Almost each one of Nelson Mandela's speeches, widely believed to be among the most inspirational addresses by world leaders in the past several decades, has been documented by the Nelson Mandela Centre of Memory project.

Here are excerpts from five of his most memorable speeches. He opened his arguments by saying he believed this was a "trial of the African people". In its proper meaning equality before the law means the right to participate in the making of the laws by which one is governed, a constitution which guarantees democratic rights to all sections of the population, the right to approach the court for protection or relief in the case of the violation of rights guaranteed in the constitution, and the right to take part in the administration of justice as judges, magistrates, attorneys-general, law advisers and similar positions.

In the absence of these safeguards the phrase 'equality before the law', in so far as it is intended to apply to us, is meaningless and misleading. All the rights and privileges to which I have referred are monopolised by whites, and we enjoy none of them. The white man makes all the laws, he drags us before his courts and accuses us, and he sits in judgement over us. It is fit and proper to raise the question sharply, what is this rigid colour-bar in the administration of justice?

Why is it that in this courtroom I face a white magistrate, am confronted by a white prosecutor, and escorted into the dock by a white orderly? Can anyone honestly and seriously suggest that in this type of atmosphere the scales of justice are evenly balanced?

Why is it that no African in the history of this country has ever had the honour of being tried by his own kith and kin, by his own flesh and blood?

I will tell Your Worship why: the real purpose of this rigid colour-bar is to ensure that the justice dispensed by the courts should conform to the policy of the country, however much that policy might be in conflict with the norms of justice accepted in judiciaries throughout the civilised world.

I feel oppressed by the atmosphere of white domination that lurks all around in this courtroom. Somehow this atmosphere calls to mind the inhuman injustices caused to my people outside this courtroom by this same white domination. It reminds me that I am voteless because there is a parliament in this country that is white-controlled.

monologues about apartheid

Mandela's best known speech, delivered in from the dock of the Pretoria courtroom, having been in jail two years already by then.

The speech was made famous by its closing lines in which he speaks of democracy and free society, an ideal for which he said he was prepared to die.

I have always regarded myself, in the first place, as an African patriot. After all, I was born in Umtata, forty-six years ago. My guardian was my cousin, who was the acting paramount chief of Thembuland, and I am related both to Sabata Dalindyebo, the present paramount chief, and to Kaiser Matanzima, the Chief Minister for the Transkei.

Today I am attracted by the idea of a classless society, an attraction which springs in part from Marxist reading and, in part, from my admiration of the structure and organisation of early African societies in this country. The land, then the main means of production, belonged to the tribe. There was no rich or poor and there was no exploitation. It is true, as I have already stated that I have been influenced by Marxist thought.

monologues about apartheid

But this is also true of many of the leaders of the new independent states. Such widely different persons as Gandhi, Nehru, Nkrumah, and Nasser all acknowledge this fact.

We all accept the need for some form of socialism to enable our people to catch up with the advanced countries of the world and to overcome their legacy of extreme poverty. But this does not mean we are Marxists I have been influenced in my thinking by both West and East. All this has led me to feel that in my search for a political formula, I should be absolutely impartial and objective. I should tie myself to no particular system of society other than that of socialism. I must leave myself free to borrow the best from West and from the East.

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The complaint of Africans, however, is not only that they are poor and whites are rich, but that the laws which are made by the whites are designed to preserve this situation. There is compulsory education for all white children at virtually no cost to their parents, be they rich or poor. Similar facilities are not provided for the African children


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