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Does the space of performance play a dynamic role in South Africa twenty years after the end of apartheid? Can theatre tell the stories that resonate in a landscape of ambiguity and uncertainty, where fragile and fractured memories remain concealed? The post-apartheid milieu produces a complex audience dislocated by spaces of inherited physical and mental boundaries. Theatre played an important oppositional role during apartheid. Now, the challenge for theatre is far more entangled and calls for theatre-making that heightens the community’s critical social and political reflection.  Ubu and the Truth Commission  produces new assemblages that implicate the Deleuzian “lines of flight,” where shifting boundaries penetrate into spaces of desire and peripheries of potentiality, emerging with imagined vocabularies of meaning that create in the audience – in the listener and thinker – a critical understanding. Subverting the Truth and Reconciliation Commission’s legal framework, the production’s affective manifestation of institutionalized violence dislocates the voices, translations and bodies of the witnesses and brings them into the “active body” of the community (Rancière), giving expression to Deleuze’s idea of “becoming-minor,” and evoking a theatre language of emergence and creating a space of immanence; a site for Loren Kruger’s “embodied spatial practices and imaginations.”

“A community of storytellers and translators”: Ubu and the Truth Commission: Seen through Deleuze’s Language of Emergence