In 1984, Duma Kumalo was sentenced to death under the apartheid law of common purpose. He was only spared by the transitional negotiations that led to South Africa's first democratic elections in 1994. However, his suffering did not end with his release. Nor did his appearance alongside many other victims of human rights abuse at the country's Truth and Reconciliation Commission provide any measure of therapeutic relief. Instead, he continued to confess, as part of his performance in Yaël Farber's He Left Quietly (2002), to a trauma so overwhelming as to undo, it seems, any such a claim to healing. It has now been ten years since Kumalo passed away and this article returns to Farber's play in order to examine the theatrical form this melancholy takes, the challenge it poses to confessional orthodoxy and the ethical ends towards which such a melancholy performance might potentially drive, even still.

中文翻译：

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种族隔离的表演：雅尔·法伯的《他悄悄地离开》中的创伤、自白和剧院的忧郁

1984 年，根据共同目的种族隔离法，杜马·库马洛被判处死刑。他只是在 1994 年导致南非第一次民主选举的过渡谈判中幸免于难。然而，他的痛苦并没有随着他的获释而结束。他与该国真相与和解委员会的许多其他侵犯人权受害者一起出现也没有提供任何治疗缓解措施。相反，他继续坦白，作为他在 Yaël Farber 的表演中的一部分他悄悄离开（2002），对于如此压倒性的创伤，似乎撤销了任何这样的治愈要求。库马洛去世已经十年了，本文回到法伯的戏剧，以检验这种忧郁的戏剧形式，它对忏悔正统的挑战，以及这种忧郁表演可能推动的伦理目标，甚至仍然。