Plot summary
The drama begins in a man named Styles’ photography studio. The studio is located in Port Elizabeth, South Africa, in New Brighton. After reading a newspaper article about an automobile facility, Styles tells the audience an amusing story about an incident that happened when he worked at Ford Motor Company.
Styles reads the newspaper and talks about his photography studio. Sizwe Banzi, a customer, approaches and interrupts his thoughts. He requests a photograph, but when Styles asks for his deposit and name, Sizwe hesitates, then reveals his name is Robert Zwelinzima.
Styles asks Sizwe what he plans to do with the photograph, and Sizwe says he would mail it to his wife. The moment is fixed into what the snapshot will appear like when it is taken. It comes to life, and Sizwe drafts the note that would accompany the photograph to his wife.
Sizwe informs his wife in the letter that Sizwe Banzi has died. When he arrived in Port Elizabeth from his home in King William’s Town, he lived with a friend named Zola, who attempted to help Sizwe find work.
His job hunt was unsuccessful, therefore he was advised by the authorities that he had three days to depart. Sizwe went to stay with Buntu, Zola’s pal.
The action shifts back to the present. Sizwe, who is staying at Buntu’s residence, tells Buntu about his problems: unless a miracle occurs, he would have to leave town in three days. Buntu understands the situation and advises that he work in the mines in King William’s Town.
Sizwe believes the plan is too risky. Buntu decides to take him out to Sky’s Place, a neighborhood bar, for a treat.
The gaze returns to Sizwe as he continues to write the letter to his wife. He relates his experiences at Sky’s shebeen, where he was offered booze in a respectable manner by a lady.
When Sizwe and Buntu have consumed alcohol, the scene switches to the outdoors of Sky’s. Buntu decides he needs to hurry home so he can go to work the next day. He goes into an alley to relieve himself and comes across a dead man.
Sizwe wishes to report the body to the authorities. Buntu rejects the plan, but he obtains the deceased man’s identity book in order to locate his address. Buntu discovers that the man, named Robert Zwelinzima, possesses a work-permit, a seeker’s which Sizwe requires in order to remain in town.
They accept the book. Buntu switches the images in the books in his house. He proposes that they burn Sizwe’s book, effectively killing him, and have Sizwe adopt the dead man’s identity in order for him to remain in Port Elizabeth. Sizwe is skeptical about the idea, and he is especially concerned about his wife and children. Buntu believes they can remarry. Sizwe accepts to the switch after much deliberation.
Sizwe has completed dictating the letter to his wife. In it, he tells her that Buntu is assisting him in obtaining a lodger’s permit. The scene returns to Styles’ photography studio, where Sizwe is having his picture taken.
Themes of Sizwe Bansi is Dead
“Sizwe Bansi is Dead” is a 1972 play written by Athol Fugard, John Kani, and Winston Ntshona. The play delves into issues of identity, self-preservation, and resistance against oppressive systems.
Identity: The concept of identity is explored in the play through the character of Sizwe Bansi, who is compelled to change his identity in order to survive in South Africa under the harsh apartheid rule. Sizwe Bansi’s battle to maintain his sense of self despite living under continual danger of violence and discrimination exemplifies apartheid’s psychological toll on black South Africans.
Self-Preservation: The concept of self-preservation is also explored in the play. Sizwe Bansi’s choice to assume the identity of a deceased man in order to gain the appropriate documentation to remain in Port Elizabeth exemplifies the lengths people would go to in order to survive. The play implies that in a society where the chances are stacked against them, people must occasionally participate in ethically dubious acts in order to survive.
The issue of resistance is also addressed in the play. While Sizwe Bansi eventually adopts a new identity, Styles, a photographer, represents a different sort of resistance. Styles is an example of a black South African who has used his art to undermine the establishment. The play implies that resistance can take numerous forms, and that each person must find their own method to combat injustice.
Dehumanization is another subject addressed in the play. Sizwe Bansi is frequently reminded of his inferior standing in society, both through white South Africans’ vocabulary and the many forms of discrimination he encounters. According to the play, apartheid was designed to dehumanize black South Africans, making it easier for the white minority to keep power.
Eventually, the piece delves into the issue of legacy. Sizwe Bansi’s decision to assume the identity of a deceased man necessitates the abandonment of his previous life and family. The drama implies that apartheid’s legacy will continue to plague future generations of South Africans, who will be forced to traverse the intricate web of social, economic, and political challenges that the apartheid system generated.
Dramatic techniques in Sizwe Bansi is Dead
To effectively express its thoughts and messages to the audience, “Sizwe Bansi is Dead” employs a number of dramatic approaches. The following are some of the primary techniques employed in the play:
Monologues: Monologues are used extensively in the play to allow the characters to express their ideas and feelings to the audience. Sizwe Bansi’s internal monologues, for example, let the spectator comprehend his fight to retain his sense of self in a world that wants to dehumanize him.
Symbolism: The play uses a variety of symbols to illustrate the subjects it addresses. The picture studio where Styles works, for example, represents resistance to the repressive system, yet the identity card that Sizwe Bansi must obtain in order to remain in Port Elizabeth represents apartheid’s dehumanizing aspect.
Irony is used in the play to emphasize the absurdity of the apartheid regime. The fact that Sizwe Bansi must assume the name of a deceased man in order to remain in Port Elizabeth, for example, exemplifies the system’s dehumanizing nature.
Breaking the fourth wall: The play occasionally breaches the fourth wall, allowing the characters to address the audience directly. This strategy involves the audience even more in the action and helps to generate a sense of immediacy and intensity.
Juxtaposition: The drama frequently juxtaposes the brutal reality of apartheid life with moments of laughter and kindness. This strategy emphasizes the characters’ humanity and creates a sense of hope in the midst of tragedy.
Non-linear structure: To create tension and assist the audience to understand the characters’ motivations and actions, the play employs a non-linear framework that jumps back and forth in time.
Ultimately, these theatrical approaches are utilized effectively in “Sizwe Bansi is Dead,” resulting in a compelling and thought-provoking work of theater.
Ultimately, these theatrical approaches are utilized effectively in “Sizwe Bansi is Dead,” resulting in a compelling and thought-provoking work of theater.
Why is Sizwe Bansi Dead?
“Sizwe Bansi is Dead” is so named because it revolves around the figure of Sizwe Bansi, who must effectively “die” in order to exist under South Africa’s apartheid rule.
Sizwe Bansi is a black South African who has come to Port Elizabeth in quest of work but is unable to secure the appropriate credentials to remain lawfully in the city.
Sizwe Bansi assumes the identity of a deceased man whose identity card he discovers in a wastebasket in order to evade deportation. This decision basically erases his previous identity and forces him to reinvent himself.
Sizwe Bansi is able to stay in Port Elizabeth and support himself and his family by establishing this new identity.
The title “Sizwe Bansi is Dead” emphasizes the dehumanizing nature of apartheid and the extent people must go to in order to survive under such a regime.
Apartheid, according to the play, was designed to strip black South Africans of their identities and humanity, forcing them to “die” and acquire new identities in order to continue living.
Is Sizwe Bansi Dead?
The character of Sizwe Bansi in the drama “Sizwe Bansi is Dead” by Athol Fugard, John Kani, and Winston Ntshona is not genuinely deceased. The title of the play refers to the idea that in order to survive under South Africa’s brutal apartheid state, Sizwe Bansi must effectively “die” and create a new identity.
In the drama, Sizwe Bansi assumes the persona of a deceased man in order to secure the paperwork required to remain in Port Elizabeth. This choice causes him to relinquish his previous identity and adopt a new one, thus erasing his past and transforming him into a new person. He is, however, still alive and living under his new identity.
The title of the play is meant to emphasize apartheid’s dehumanizing aspect, as well as the extent people must go in order to survive under such a system. While Sizwe Bansi is not truly dead, his decision to adopt a new identity essentially erases his former life and sense of self, transforming him into a completely different person.
Who is Styles in Sizwe Bansi is Dead?
Styles appears in the play “Sizwe Bansi is Dead,” written by Athol Fugard, John Kani, and Winston Ntshona. He is a vibrant and dynamic employee at a photography studio in Port Elizabeth, South Africa.
Styles is the figure who assists the play’s protagonist, Sizwe Bansi, in navigating the difficulties of apartheid-era South Africa. As Sizwe realizes his work permit has expired and he is about to be deported, Styles provides him counsel and aid.
Styles also acts as a narrator and commentator on the play’s actions. He provides context and backstory, as well as funny asides and social criticism. He illustrates the various inequities and absurdities of apartheid life through his interactions with Sizwe.
Ultimately, Styles is a central character in “Sizwe Bansi is Dead,” and he plays an important role in assisting the audience in understanding the ideas and topics addressed in the play.
Characters in Sizwe Bansi is Dead
“Sizwe Bansi Is Dead” is a play written by Athol Fugard, John Kani, and Winston Ntshona of South Africa. There are three characters in the play:
Bansi, Sizwe: Sizwe Bansi, the play’s protagonist, is a migrant worker from South Africa’s Eastern Cape who has come to the city of Port Elizabeth in search of work. He is struggling to provide for his family and must make the difficult decision of staying in the city or returning home.
Styles is a Port Elizabeth-based photographer who maintains a small photographic business. He is a flashy and charismatic guy capable of manipulating and enticing everyone around him. He is the one who takes Sizwe’s photograph, triggering the events of the play.
Buntu: Sizwe’s friend and fellow migrant worker in Port Elizabeth, Buntu. He is a more pragmatic and down-to-earth character than Styles, and he assists Sizwe in making sense of the terrible decision he must make. He eventually takes a decision that will have far-reaching consequences for Sizwe’s future.