„White western man” starzeje się, ale wciąż budzi współczucie
The “White Western Man” is Aging, but Still Has Our Sympathy

Summary/Abstract: This interpretation of Luk Perceval’s adaptation of Disgrace by J. M. Coetzee (Toneelgroep Amsterdam) is dominated by mannequins of the black residents of South Africa, which never leave the stage. These mannequins cling to the car during the scene of Lucy’s rape, the play’s various protagonists emerge from and disappear into them, they become silent witnesses of the story being told. To the reviewer’s mind, the director thus reveals the essential lack of balance in Coetzee’s novel, which, in spite of direct references to the relations between “white” and “black” people in post-colonial South Africa, dwells only upon what is found on his side of the demarcation line.

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