Magrita Prinslo (1896), Magdalena Retief (1938) and Mies Julie (2012): From Historical Afrikaner Mothers of the Nation to a Modern Afrikanermeisie (Girl)

Abstract

The focus of this article is a postcolonial reading of Yaël Farber’s 2012 adaptation (Mies Julie) of Strindberg’s Miss Julie (1888) through the lens of the Mother of the Nation concept (Volksmoederkonsep) as situated within Afrikaner nationalist ideology. Strindberg’s Miss Julie has been adapted numerous times (apparently more than twenty times) and often through re-imagings of the original play’s issues in regards to gender, power and social class. More recent adaptations include Patrick Marber’s reworking of the play, entitled After Miss Julie in 2009 and a 2012 Chinese opera version directed by Ravel Luo.

Opsomming

 Die fokus in hierdie artikel is 'n postkoloniale beskouing van Yaël Farber se aanpassing (Mies Julie) in 2012 van  Strindberg se Miss Julie (1888) deur die lens van die Volksmoederkonsep in die konteks van Afrikaner-nasionalistiese ideologie. Strindberg se Miss Julie is verskeie kere (skynbaar meer as twintig keer) aangepas, en dikwels deur heruitbeelding van die oorspronklike drama se kwessies met betrekking tot geslag, mag en sosiale klas. Meer onlangse verwerkings sluit in Patrick Marber se hersiening van die toneelstuk, getiteld After Miss Julie in 2009, en 'n Chinese operaweergawe geregisseer deur Ravel Luo in 2012.