This paper analyses how particular contemporary productions of three plays, originally written by Athol Fugard, were staged in relation to racial representation in a specific theatre making context where a Malawian theatre directing student staged historically specific plays of the South African author in Switzerland between the years 2013 and 2018. The discussion is articulated in relation to the theory of representation, raising various questions as to what kind of racial representational stereotypes prevailed in these particular stagings of Athol Fugard plays; what kind of strategies, and indeed to what extent, the contemporary stagings of
the works in question challenged such stereotypes. The basic argument the thesis makes is that, how a performance artist stages racial content material, implicates the kind of representations generated thereof, either conforming to aesthetic stereotypes of racial representations or challenging them, which is a complicated exercise yet key in transforming rigid fictional representations of race in performance art making. The thesis contributes to the ongoing discourse, regarding how media and art makers in general engage and represent race in their aesthetic manifestations.