It is hard not to see the parallels and resonances in Greg Homann’s adaptation of Oedipus and the classic Greek tragedy, in a South African context; it is almost uncanny how it resonates. Homann’s script is in many ways genius because it mirrors the social issues that pervade South Africa at levels that are deeper than specific, tangible events – such as the scene where the fake interpreter is satirised.
It is hard not to see the parallels and resonances in Greg Homann’s adaptation of Oedipus and the classic Greek tragedy, in a South African context; it is almost uncanny how it resonates. Homann’s script is in many ways genius because it mirrors the social issues that pervade South Africa at levels that are deeper than specific, tangible events – such as the scene where the fake interpreter is satirised.
As mentioned in Gillian McAinsh’s article, the play attempts to show the applicability of Greek classical tragedy to the African context, and does so wonderfully. Generational issues are addressed by polarising the old, traditional Oedipus and his faithful daughter Antigone with Oedipus’ estranged sons and second daughter, sent to the centre of corruption, ‘the city.’ There is a clash between the old and new which represents the disillusionment that is the current generation in South Africa, post-apartheid.
Oedipus @ Koö-Nú! looks at the generation after 1994 and the desire for their own struggle. There seems to be stagnation, and unwillingness for contemporary people to move beyond the past into a brighter future. The play reflects on the culture of entitlement and need for instant gratification that has been bred into the current generation; showcased in the play, there is the thinking that where Oedipus dies will become a sacred, magical area – bringing prosperity and luck.
Despite their previous sentiments of disgust, when the city’s leaders are confronted with reward – a ‘magic feather’ that promises easy and quick solutions to problems, Oedipus is welcomed. This speaks of the mentality that the current generation has; that they are perhaps living off the laurels of the past ‘working’ and ‘fighting’ generation.
The play often deals with issues of fate and choice, often referring to the Gods and messages from the Gods. The play questions whether those messages are inescapable, whether we are in control of our destiny and the shape of our country’s development. The final words reflect the sentiments of the play: “It’s all up to us now!” meaning that the current generation has to pull themselves out of the proverbial ‘mud’ of stagnation, fear, apathy, pain, and worry and look toward the future instead of looking to the past.
Further emphasising this point was Polynices’ use of Oedipus’ name to unite the warriors he intends to send to fight the city; he is again using his father’s name, and hence the ‘warriors of the past’, for personal contemporary gain
The play also questions the realities of what we know as the rainbow nation. It questions whether it even exists given things like xenophobic attacks and cultural attacks in the country; it questions if the sentiments of the ‘rainbow nation’ are merely political farces and if events like the 2010 Football World Cup and the 1995 Rugby World Cup are merely facades of togetherness and unity.
Despite this bleak outlook, the play does reflect hope for the country. Through the excellently adapted meta-textual nature of the play, excellently devised physical pieces and rituals performed in the play, and the application of classic Greek tragedy to an African context Greg Homann achieves his goal of addressing socio-political problems permeating a contemporary South African context, we are infused with hope for a society moving forward as one unified whole.
This story was originally published on Cue Online – cue.ru.ac.za
