Yaël Farber’s 2012 adaptation of August Strindberg’s classic play Miss Julie entitled Mies Julie and subtitled Restitutions of Body and Soil since The Bantu Land Act No. 27 of 1913 and The Immorality Act No. 5 of 1927, received rave reviews internationally, earned a great number of awards, had sold-out performances and often received standing ovations from various international audiences. In this article I discuss why South African audiences’ experience of Yaël Farber’s South African adaptation of a classic play, Strindberg’s Miss Julie, would differ to some extent from international audiences’ reception of the play. The focus is on two aspects which would have impacted on local audiences and their reception of the play, namely the particular South African setting of the play, and its sociohistorical context. The three aspects foregrounded by the play’s title: the aspect of ‘indentured race-based servitude’ as reflected in the title, Mies Julie; the Bantu Land Act, and thirdly, the Immorality Act, as reflected in the subtitle, are discussed in some detail to demonstrate why the political is more personal for local audiences than for international audiences.

中文翻译：

---

密斯·朱莉（2012 年）中的“身体和土壤的恢复”：南非剧院观众对 Yaël Farber 改编的斯特林堡的《朱莉小姐》在后种族隔离的南非政治格局中的接待

Yaël Farber 2012 年改编自奥古斯特·斯特林堡 (August Strindberg) 的经典剧目《朱莉小姐》，题为《密斯·朱莉》，副标题为《自 1913 年第 27 号班图土地法》和 1927 年第 5 号《不道德法》以来身体和土壤的恢复，在国际上获得好评如潮，获得了大量好评的奖项，已售罄的表演，并经常收到来自不同国际观众的起立鼓掌。在这篇文章中，我将讨论为什么南非观众对 Yaël Farber 改编自南非经典剧《斯特林堡的朱莉小姐》的体验与国际观众对该剧的接受度有一定的不同。重点是会影响当地观众及其对戏剧的接受的两个方面，即该戏剧的特定南非背景及其社会历史背景。该剧的标题所突出的三个方面：标题中所反映的“基于契约种族的奴役”方面，密斯·朱莉；《班图土地法》，第三，如副标题中所反映的《不道德法》，详细讨论了为什么政治对当地观众比对国际观众更个人化。