{"id":84478,"date":"2025-10-17T13:48:56","date_gmt":"2025-10-17T11:48:56","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-boesman-en-lena\/"},"modified":"2025-10-21T11:59:42","modified_gmt":"2025-10-21T09:59:42","slug":"resensie-boesman-en-lena","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/","title":{"rendered":"Resensie: ‘Boesman en Lena’"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
SPIER TONEEL<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

\u2018Boesman en Lena\u2019 is tuis in Idasvallei<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Produksie: Boesman en Lena<\/strong>
Resensie: Na\u00f2mi Morgan <\/strong>
Foto\u2019s: Nardus Engelbrecht<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
Die 2025-produksie van Boesman en Lena is soos dit moet wees, s\u00ea Na\u00f2mi Morgan<\/span>, en die taal, akteurs \u00e9n regisseur is bakens wat ons herinner hoeveel die teaterlandskap verander het<\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Athol Fugard skryf Boesman en Lena<\/em> in 1969, n\u00e1 \u2019n ontmoeting met \u2019n swart vrou langs die grootpad, \u2019n figuur wat ook haar verskyning maak in The Road to Mecca<\/em> (1984). Fugard verplaas sy drama oor ontheemding van die grootpad na \u2019n deel van Suid-Afrika wat hy goed geken het: die Port Elizabeth-omgewing, die moddervlakte van Swartkops. <\/p>

Die vrouekarakter in Boesman en Lena<\/em> is steeds die spil waarom die handeling draai, ten spyte van die teenwoordigheid van die twee manlike karakters. Dis Lena wat die gehoor ontroer met haar hartverskeurende dialoog, wat bereid is om \u2019n swart pelgrim warm te maak met haar konka, haar kombers en haar arms, wat baie gou besef sy is besig om doodsbegeleiding te doen. Lena, wat \u201cvan geweet wil wees\u201d. Sy is nie uitskot nie, sy het \u2019n naam, sy is \u2019n mens. Wat sy die meeste mis n\u00e1 Outa se dood, is hoe mooi hy haar naam ges\u00ea het. Sy besef die waarde van identiteit, en daarom gee sy vir Outa, wat nie verstaan wat sy s\u00ea nie, \u2019n naam, \u2019n respekvolle naam vir \u2019n bejaarde swart man in die jare sestig. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Dit is die eerste vertaling in Kaapse Afrikaans van Boesman en Lena, deur Vinette Ibrahim, en \u2019n mens wil amper s\u00ea soos Karen Blixen toe sy Afrika uit \u2019n vliegtuig gesien het: ‘Yes, I see. This is the way it was intended’. <\/span><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Lena is ons hoop op \u2019n beter Suid-Afrika, tot op \u2019n punt. Want Lena, soos soveel geteisterde vroue in hierdie land, kan nie sonder Boesman nie. Soos Vladimir en Estragon in Ons wag vir Godot<\/em> (\u2019n drama waarmee Boesman en Lena<\/em> dikwels tematies vergelyk word), is sy blykbaar tot die dood toe vas aan \u2019n reisgenoot wat doelloos rondswerf en sy frustrasie met die stelsel op haar uithaal. Estragon word ten minste net deur \u201chulle\u201d aangerand, en \u201cnie te veel nie\u201d; Lena word daagliks pimpel en pers geslaan deur die pa van die kinders wat sy in \u2019n onherbergsame w\u00eareld probeer inbring het \u2013 en wat nie oorleef het nie. <\/p>

Hoewel sy deur Boesman uitgemaak word as iemand wat nie onthou of verstaan nie, wat kruip en smeek voor die stootskrapers, vind Lena uiteindelik met Outa se dood die manier om \u2019n houvas op Boesman te kry en haarself te beskerm in \u2019n w\u00eareld waarin vroue op niemand kan reken nie. Boesman slaan die lyk in die hoop dat Outa nie dood is nie, en laat sodoende \u2019n (afpersbare) merk. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Veronique Jephtas inkarneer hierdie besondere vrouerol met alles wat sy het. Sy beskerm vir Outa met haar lyf, sy konfronteer vir Boesman met \u2019n gebreekte stem wanneer sy besef sy verdien nie haar mees onlangse loesing nie en dat hy dit geweet het, sy sing en dans wanneer klein vreugdes oor haar pad kom: \u2019n bietjie hitte, \u2019n ketel kookwater, \u2019n mens wat na haar storie sal luister. Groot name het al Lena gespeel, maar Jephtas druk hier haar stempel op die rol af, veral in die vlietende toneel waar die papgeslaande vrou haar kopdoek afhaal, oprol en in haar arms wieg om in haar eie soort gebaretaal vir Outa te verduidelik dat sy ook eens \u2019n ma was. <\/p>

Brendon Daniels is perfek gekies vir die rol. Die swygsame Boesman se opstand teen sy lot word veral deur sy liggaamstaal ge\u00efllustreer. Daniels gee hier \u2019n meesterklas in fisieke teater. Hy vul sy dialoog aan met handeling wat \u2019n soort tragiese nutteloosheid uitstraal: Sy pondok val voortdurend om; kort nadat hy dit uiteindelik staangemaak het, moet hulle vlug, want Outa se natuurlike dood sal lyk soos moord. Boesman praat vir die eerste keer soos \u2019n mens met Lena wanneer sy die hef in die hand het, en gee in \u2019n lang repliek al die antwoorde waarvoor sy al van die begin van die drama af smeek. Daniels se intonasie in hierdie stuk dialoog gee die gehoor \u2019n voorsmaak van die (ander) soort man wat Boesman sou kon wees as die omstandighede anders was.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Twee van die drie akteurs moes vervang word vir hierdie produksie, maar niks in hulle spel verraai dat hierdie konfigurasie binne \u2019n week hulle rolle moes inoefen nie. Dit is hierdie outensiteit van hulle spel, en die karigheid van rekwisiteite \u2013letterlik dit wat \u2019n mens met jou kan saamdra \u2013 wat jou as gehoorlid aan die hart gryp. <\/span><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Daar is natuurlik talle voor die hand liggende redes om na die produksie by die Toyota Stellenbosch Woordfees te gaan kyk: Fugard is in Maart 2025 op Stellenbosch oorlede, en die beste manier om hom te huldig is om sy dramas op te voer. Tweedens is dit die eerste vertaling in Kaapse Afrikaans van Boesman en Lena<\/em>, deur Vinette Ibrahim, en \u2019n mens wil amper s\u00ea soos Karen Blixen toe sy Afrika uit \u2019n vliegtuig gesien het: \u201cYes, I see. This is the way it was intended\u201d. Dit is hoe die karakters moet praat. Dit is ook uit \u2019n teatergeskiedenis-oogpunt interessant om die eerste opvoering van die stuk met hierdie produksie by die Toyota Stellenbosch Woordfees, die eerste n\u00e1 Fugard se dood, te vergelyk: Die titelrolle in die 1969-produksie op Rhodes is gespeel deur Fugard en Yvonne Bryceland, di\u00e9 van Outa deur Glynn Day (\u2019n wit akteur met swart grimering). <\/p>

Die 2025-produksie is soos dit moet wees: Veronique Jephtas (wat die rol binne \u2019n week ingestudeer het toe Lee-Ann van Rooi weens persoonlike redes moes onttrek) en Brendon Daniels in die titelrolle, Tshamano Sebe (n\u00e1 die dood van Wiseman Sithole) as Outa, en Christo Davids as regisseur. Dit is bakens wat ons herinner hoeveel die teaterlandskap verander het. En dit speel in Idasvallei, wat die gehoor uit die gemaksone van die Stellenbosse middedorp neem. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Davids se stelinkleding is naturalisties: Aan weerskante van die vogtige niks waar Boesman en Lena die nag gaan deurbring, groei die gras van die moddervlakte. Die ligplan is blou en grys, wat dit laat lyk na \u2019n w\u00eareld toe dit nog woes en leeg was, wat die mense wat daar halt roep, reduseer tot oermense wat oorleef van die uitskot van die industri\u00eble era: ou emaljebekers, \u2019n dekseil van plastiek, die drank waarvoor Boesman le\u00eb bottels inruil. Die kole in die konka gloei nog lank nadat hulle weer hulle goed gevat en getrek het, daar waar geen hitte Outa se lyk meer kan verwarm nie. Lena het vars slaanplekke. Die verkleinerende taalgebruik (die k- en h-woord) is di\u00e9 van die jare sestig, wat Ibrahim kwistig in haar vertaling gebruik. Dit skok \u2019n mens, maar dit kan nie anders nie: dit kan nie gesuiwer word om die gehoor die ongemak te spaar nie. Tintin in die Kongo praat soos hy praat. <\/p>

Die drie akteurs verteenwoordig drie reaksies op die onmoontlikheid van \u2019n permanente, gemaklike holte vir die voet. Boesman lag vir die stootskrapers en laat sy vuiste praat; Lena soek antwoorde, of net woorde, die name van plekke waar hulle was (soos Estragon in Ons wag vir Godot<\/em> onthou sy nie mooi waar hulle voorheen oornag het nie), sy soek warmte, soet troos uit \u2019n kondensmelkblik, en iemand wat mooi werk met haar; Outa, nog \u2019n hawelose wat sy laaste ure deurbring saam met \u2019n vrou wie se taal hy nie praat nie en wat nie eens \u2019n naam agterlaat nie (hy sterf soos \u201cdie Arabier\u201d in Camus se L\u2019\u00e9tranger<\/em>, net as \u2019n lid van \u2019n etniese groep). <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Boesman praat min, Lena baie, Outa niks. Boesman word ontman deur die herhalende gebeure (die voorspelbare vernietiging van hulle skuilings, die herhaaldelike verlies van hulle besittings), hy bewys sy manlikheid voor die polisie deur vir Lena te slaan omdat sy smeek vir tyd om hulle goed te red. Lena se hewige reaksie op haar onregverdige loesing en haar pogings om Outa tot getuie te maak is deel van \u2019n groter vraag: Waarom gebeur hierdie dinge met hulle, wat het hulle gedoen om dit te verdien? <\/p>

Soos hierbo genoem, moes twee van die drie akteurs vervang word vir hierdie produksie, maar niks in hulle spel verraai dat hierdie konfigurasie binne \u2019n week hulle rolle moes inoefen nie. Dit is hierdie outensiteit van hulle spel, en die karigheid van rekwisiteite \u2013 letterlik dit wat \u2019n mens met jou kan saamdra \u2013 wat jou as gehoorlid aan die hart gryp. <\/p>

In Ons wag vir Godot<\/em> eindig die drama met die karakters se gewone besluiteloosheid:<\/p>

Vladimir:<\/strong> So, sal ons gaan?<\/p>

Estragon:<\/strong> Weg is ons.<\/p>

Hulle roer nie<\/em>.<\/p>

Maar Boesman en Lena kan nie bekostig om nie te beweeg nie; agter hulle kom die stootskrapers en die polisie aan. Agter h\u00falle, maar ook agter miljoene soos hulle op ons sypaadjies en aan die rand van ons stede. <\/p>

*<\/p>

\u2019n Ko-produksie deur Momentum Aardklop en Toyota Stellenbosch Woordfees, ondersteun deur NATi, Festival Enterprise Catalyst (FEC) in samewerking met die Jobs Fund.<\/p>

*<\/p>

Boesman en Lena<\/strong><\/a>
18 OKT 13:00 & 17:00 | 19 OKT 14:00
100 min | Idasvallei Prim\u00ear
R180-R265 | R210-R295 by die deur<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i>Na\u00f2mi Morgan<\/p>\n","protected":false},"author":3799,"featured_media":84449,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[612,613],"tags":[541],"class_list":["post-84478","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ink-festival-newspaper-2025","category-spier-theatre","tag-woordfees-2025-en"],"yoast_head":"\nResensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"Na\u00f2mi Morgan\" \/>\n<meta property=\"og:url\" content=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/\" \/>\n<meta property=\"og:site_name\" content=\"Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/woordfees\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-10-17T11:48:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-10-21T09:59:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"INK Redaksie\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:site\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"INK Redaksie\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/\"},\"author\":{\"name\":\"INK Redaksie\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/person\\\/4fa89144f1f64e8103a71de1d4d44c47\"},\"headline\":\"Resensie: ‘Boesman en Lena’\",\"datePublished\":\"2025-10-17T11:48:56+00:00\",\"dateModified\":\"2025-10-21T09:59:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/\"},\"wordCount\":1528,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/INK-banner91.jpg\",\"keywords\":[\"Woordfees 2025\"],\"articleSection\":[\"INK Festival Newspaper 2025\",\"Spier Theatre\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/\",\"name\":\"Resensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/INK-banner91.jpg\",\"datePublished\":\"2025-10-17T11:48:56+00:00\",\"dateModified\":\"2025-10-21T09:59:42+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#primaryimage\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/INK-banner91.jpg\",\"contentUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2025\\\/10\\\/INK-banner91.jpg\",\"width\":2400,\"height\":1200},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/ink-festival-newspaper-2025\\\/resensie-boesman-en-lena\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Resensie: ‘Boesman en Lena’\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/\",\"name\":\"Toyota Stellenbosch Woordfees\",\"description\":\"28 Sept - 6 Oct\",\"publisher\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#organization\",\"name\":\"TOYOYA US Woordfees\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2022\\\/05\\\/cropped-woordfees-logo-salmon-pink-1.png\",\"contentUrl\":\"https:\\\/\\\/woordfees.co.za\\\/wp-content\\\/uploads\\\/2022\\\/05\\\/cropped-woordfees-logo-salmon-pink-1.png\",\"width\":800,\"height\":800,\"caption\":\"TOYOYA US Woordfees\"},\"image\":{\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/woordfees\\\/\",\"https:\\\/\\\/x.com\\\/Woordfees\",\"https:\\\/\\\/www.youtube.com\\\/channel\\\/UCSUHCg3ZLsDWLrMCKcjiilA\",\"https:\\\/\\\/iono.fm\\\/p\\\/67\",\"https:\\\/\\\/www.instagram.com\\\/woordfees\\\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/#\\\/schema\\\/person\\\/4fa89144f1f64e8103a71de1d4d44c47\",\"name\":\"INK Redaksie\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g\",\"caption\":\"INK Redaksie\"},\"url\":\"https:\\\/\\\/woordfees.co.za\\\/en\\\/author\\\/ink-redaksie\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Resensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/","og_locale":"en_US","og_type":"article","og_title":"Resensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees","og_description":"Na\u00f2mi Morgan","og_url":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/","og_site_name":"Toyota Stellenbosch Woordfees","article_publisher":"https:\/\/www.facebook.com\/woordfees\/","article_published_time":"2025-10-17T11:48:56+00:00","article_modified_time":"2025-10-21T09:59:42+00:00","og_image":[{"width":2400,"height":1200,"url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg","type":"image\/jpeg"}],"author":"INK Redaksie","twitter_card":"summary_large_image","twitter_creator":"@Woordfees","twitter_site":"@Woordfees","twitter_misc":{"Written by":"INK Redaksie","Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#article","isPartOf":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/"},"author":{"name":"INK Redaksie","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47"},"headline":"Resensie: ‘Boesman en Lena’","datePublished":"2025-10-17T11:48:56+00:00","dateModified":"2025-10-21T09:59:42+00:00","mainEntityOfPage":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/"},"wordCount":1528,"commentCount":0,"publisher":{"@id":"https:\/\/woordfees.co.za\/en\/#organization"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#primaryimage"},"thumbnailUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg","keywords":["Woordfees 2025"],"articleSection":["INK Festival Newspaper 2025","Spier Theatre"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/","url":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/","name":"Resensie: 'Boesman en Lena' - Toyota Stellenbosch Woordfees","isPartOf":{"@id":"https:\/\/woordfees.co.za\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#primaryimage"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#primaryimage"},"thumbnailUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg","datePublished":"2025-10-17T11:48:56+00:00","dateModified":"2025-10-21T09:59:42+00:00","breadcrumb":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#primaryimage","url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg","contentUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2025\/10\/INK-banner91.jpg","width":2400,"height":1200},{"@type":"BreadcrumbList","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-boesman-en-lena\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/woordfees.co.za\/en\/"},{"@type":"ListItem","position":2,"name":"Resensie: ‘Boesman en Lena’"}]},{"@type":"WebSite","@id":"https:\/\/woordfees.co.za\/en\/#website","url":"https:\/\/woordfees.co.za\/en\/","name":"Toyota Stellenbosch Woordfees","description":"28 Sept - 6 Oct","publisher":{"@id":"https:\/\/woordfees.co.za\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/woordfees.co.za\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/woordfees.co.za\/en\/#organization","name":"TOYOYA US Woordfees","url":"https:\/\/woordfees.co.za\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/","url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png","contentUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png","width":800,"height":800,"caption":"TOYOYA US Woordfees"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/woordfees\/","https:\/\/x.com\/Woordfees","https:\/\/www.youtube.com\/channel\/UCSUHCg3ZLsDWLrMCKcjiilA","https:\/\/iono.fm\/p\/67","https:\/\/www.instagram.com\/woordfees\/"]},{"@type":"Person","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47","name":"INK Redaksie","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g","caption":"INK Redaksie"},"url":"https:\/\/woordfees.co.za\/en\/author\/ink-redaksie\/"}]}},"_links":{"self":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts\/84478","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/users\/3799"}],"replies":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/comments?post=84478"}],"version-history":[{"count":4,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts\/84478\/revisions"}],"predecessor-version":[{"id":85767,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts\/84478\/revisions\/85767"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/media\/84449"}],"wp:attachment":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/media?parent=84478"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/categories?post=84478"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/tags?post=84478"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}