In 2013, Yaël Farber’s adapted August Strindberg’s naturalistic drama Miss Julie into a contemporary play, set in South Africa’s Cape Karoo semi-desert. Farber maintains in her version the various concerns the original play addresses, including class and gender, however by transporting the play to post-Apartheid South Africa, questions pertaining race and identity are reflected upon in a socio-political context. Farber negotiates these issues primarily through the use of language, utilizing code-switching throughout her contemporary parable. Farber uses code-switching as a means to reflect the despair of a nation, the search for a unified identity and the desire for intimacy of the characters. Achille Mbembe argues that South Africa has a crisis in language, however this paper argues that this alleged crisis, the continuous use of multiple languages is precisely the language of post-Apartheid South Africa. A language, which reflects the liminal state of the nation, the cultural variety of the country as well as the continuous search for a unified identity.

中文翻译：

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缺失的自由语言：Yaël Farber 的 Mies Julie (2012) 中的代码转换

2013 年，雅艾尔·法伯 (Yaël Farber) 将奥古斯特·斯特林堡 (August Strindberg) 的自然主义戏剧《朱莉小姐》(Miss Julie) 改编成当代戏剧，背景是南非的卡鲁角半沙漠。法伯在她的版本中保留了原始剧本解决的各种问题，包括阶级和性别，但是通过将剧本转移到种族隔离后的南非，在社会政治背景下反映了有关种族和身份的问题。法伯主要通过使用语言来协商这些问题，在她的当代寓言中利用代码转换。法伯用代码转换作为一种手段来反映一个国家的绝望、寻求统一身份和对人物亲密感的渴望。Achille Mbembe 认为南非存在语言危机，但是本文认为这种所谓的危机，多种语言的不断使用，正是种族隔离后南非的语言。一种语言，反映了民族的临界状态、国家的文化多样性以及对统一身份的不断追求。