From 1980 to 1981, the Baxter Theatre of Cape Town, South Africa, produced a multi-racial Waiting for Godot that garnered vastly different reactions in the various cities to which it toured. With a cast led by John Kani and Winston Ntshona, icons of anti-apartheid theatre, it was sometimes hailed as a scathing anti-apartheid polemic, sometimes admired for its ‘universality’, and in one case denounced and shut down by anti-apartheid activists as a piece of pro-apartheid propaganda. Based on both archival research and interviews, this essay investigates the artists’ intentions and the public's reception in order to illuminate how the international theatrical circuits dovetailed with international activist circuits, sometimes supporting one another, and occasionally tripping each other up.

中文翻译：

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表演抗议和抗议表演：巡回政治剧院的国际巡回演出

从 1980 年到 1981 年，南非开普敦的巴克斯特剧院制作了一部多种族的等待戈多这在其巡回演出的各个城市引起了截然不同的反应。由反种族隔离剧院的偶像约翰·卡尼 (John Kani) 和温斯顿·恩特肖纳 (Winston Ntshona) 领导的演员，有时被誉为是一场尖刻的反种族隔离论战，有时因其“普遍性”而受到赞誉，在一个案例中，它遭到反种族隔离的谴责和关闭活动家作为支持种族隔离的宣传片。本文基于档案研究和采访，对艺术家的意图和公众的接受度进行了调查，以阐明国际戏剧圈如何与国际激进主义圈契合，有时相互支持，有时相互绊倒。