Nothing but the Truth book. Read 21 reviews from the world's largest community for readers. Nothing but the Truth is the story of two brothers, of siblin. Service of the Engine is a common local Chichewa-English expression in the Malawian fishing village where the author did her fieldwork. It refers to the practice. download this book Nothing but the Truth is the story of two brothers, of sibling rivalry, of exile, of memory and reconciliation, and the ambiguities of freedom. Nothing but the Truth () was John Kani's debut as sole playwright and was first.
|Language:||English, Spanish, Hindi|
|Distribution:||Free* [*Register to download]|
Nothing But the Truth (Paperback, 2nd printing) / Author: John Kani ; ; Drama texts, plays, Literature: texts, Language & Literature, Books. Director: John Kani From: South Africa Year Minutes: Language: English Genre: Drama. Nothing But The Truth is a gripping investigation into the. play Nothing But the Truth by John Kani. Acknowledgement. The extracts understanding of other parts of the novel: its story, characters, symbols and themes.
During the two days covered by the action of the play, Sipho reiterates that, throughout his life, he made sacrifices that often went unappreciated by his brother.
He airs his gnawing recollections to the visiting Mandisa and to his own daughter, Thando, played by Warona Seane.
The cause for her mother's exit and eventual disappearance is a question that has preoccupied her, and it's one of the pieces of information that comes painfully to light as the three characters interact while readying themselves for Themba's funeral.. There's no denying that Kani's heart is in the right place as he contemplates the predicament of a man who has remained honorable throughout his troubled life. Nonetheless, his dramatist's skills are not put to their best use in Nothing But the Truth.
The play is earnest and has about it a dignified air, but it also feels as if it were written by the numbers. The clunky, grandiose title is only the beginning of the script's drawbacks. From the opening lines, where Sipho addresses his absent brother while shining a pair of shoes, the sense of someone planting exposition is strong -- and it continues when Thando and Mandisa fumble through their let's-get-acquainted conversation.
Nothing But the Truth is no exception.
Catharsis is a time-honored dramatic objective, of course; and yet the process by which it's set in motion can lead, as it does in Kani's play, to the same predictable dramatic arc. Kani further lets himself and his audience down by following catharsis with sentimental conciliation.
By the denouement, when Sipho is once again addressing his deceased brother, the play's stakes suddenly seem not to have been so high.
A pertinent example of the discrepancy between Kani's admirable intentions and his middle-of-the-road execution is a speech that Sipho, slightly inebriated and fired up, delivers late in the play. I put them in power. I paid for my freedom. I paid with my son's life! They must never forget the little people like me, the little assistant chief something who make up the majority that has kept them in power and will still do so for a long time to come.
We have dreams, too. We have our needs, too. Small as they may be, they are important to us.
We want the 'better life for all' now! It's our time now. Much wiser is a comment that Sipho makes earlier when he's reconsidering his memories of his late brother: "A man is much more than the worst thing he's ever done.
The reckoning takes a poignantly unresolved form here. The problem: Themba has died, and Sipho will have to make his peace with a ghost. She grew up in England surrounded by South African exiles, hearing tales of the homeland.
Mandisa tends to trample on the sensitivities of her stern uncle, who is aghast at her lack of respect for traditional mourning. He is outraged that Themba has been cremated.
He also is enraged by her contempt for the amnesty hearings that will allow South Africans who lost relatives in the struggle to discover the truth about their deaths. Only those who lived through the conflict, he believes, have a right to criticize the painful compromises deemed necessary to move forward. Intriguing as they are, the cultural conflicts are often baldly presented in the form of lectures or debates, and you can see most of the major revelations coming a mile off.
But the warmth of the performances helps to smooth out some of the rough passages. Bihl is a lively, engaging presence as the crass but affectionate Mandisa. Sipho has always lived in the shadow of his younger brother: His father sent Themba to college, while Sipho went to work to support him. Sipho forged an unsatisfactory career as a librarian — his dream of winning the top post dies in the course of the play — while his brother became a celebrated activist.
As actor and author, Kani has created an affecting portrait of a gentle man with a boiling heart, a survivor who must struggle, as his country does, to come to terms with the demons of the past.
Directed by Janice Honeyman. Opened Dec. Reviewed Dec.
Running time: But helmer Arin Arbus associate director of Theater [