Fugard's identity as a playwright was firmly rooted in the struggle against apartheid. What happened to this identity when the post-apartheid ‘New’ South Africa emerged? Black South Africans have followed Nelson Mandela's lead in accomplishing their ‘Long Walk to Freedom’. Why is it so difficult for Fugard to find a role in this new country and put an end to his inner exile? Hilary Burns explores this question in the light of the development of Fugard's whole opus, and the relationship between form and content in plays where the content has tended to overshadow the form. Burns is a professional actor with a career-long commitment to theatre that seeks to challenge or develop issues relevant to today's society. She has worked extensively in small-scale touring theatre, the London fringe, and regional theatre, and has also made appearances in TV and film. In November 2000, she spent a month with the Market Theatre of Johannesburg which inspired her book, The Cultural Precinct, about South African theatre, in particular how the theatres born in the protest era have responded to the challenges of the new society. Her study of the Market Theatre yesterday and today will follow in NTQ72.