A production by CONSTANZA MACRAS | DorkyPark, the Market Theatre Johannesburg (ZA) and Goethe-Institut South Africa (ZA). Commisioned as part of the ‘Football Meets Culture’ programme promoted by the Goethe Institute (DE), the German Embassy in South Africa (ZA) in the frame of 2010 FIFA World Cup South Africa


Macras sees Johannesburg as the country’s premier urban landscape representing the space where the evolving story of the New South Africa is most fully played out. The city is representational of both the Utopian dreams of the reconciled Rainbow Nation and the dystopia of an urban space under siege.

Typical of such a growing metropolis is that an integral part of urban society is the divide between the anxious rich and the desperately poor. Patterns of differentiation reinforce structural inequalities deeply integrated in the cityscape – but also reflect an emergent spatial logic governing the organisation of uses and meaning of the urban space after apartheid.

The piece looks at the meeting of characters promoted by the public transportation system and the role of football in politics and economy.
It is not the first time that a soccer World Cup is taking place in a socially or politically charged environment where is may play a role in covering, accelerating or confronting the actual situation in the country. One example would be the 1978 World Cup in Argentina where Macras was born. How does the euphoria of the event concile impossible differences – or accentuate existing conflicts in South Africa? How accessible are its benefits to everybody?

These are the questions at the heart of The Offside Rules which formed part of the event Football Meets Culture programme promoted by the Goethe-Institut, the German Embassy and their partners.


Choreography // Director: Constanza Macras
Assistant Director: Athena Mazarakis
From and with: John Sithole, Domenick Mashishi, Lebang Monnahela, Dikeledi Modubu, Ntombifuthi Sengwayo, Mmakgozi Kgabi, Noel Ndinisa, Hansel Nezza, Elik Niv, Tatiana Eva Saphir
Light: Nomvula Molepo
Videodesign: Nadine Hutton
Sound/Video: Gladman Balintulo
Musical Director: Noel Ndinisa
Costumes: Noluthando Lobese
Assistant Costumes: Marcus Barros Cardoso
Stage: Sibusiso Mndumndum
Production Management: Katharina Wallisch


“Even in the theater it is still uncommon, to see black and white dancers on the same stage. Therefore it comes as a surprise, to see how a colorful and mixed audience competes for Macras’ multiethnic ensemble to hold up a mirror. But these days the head of the dance company Dorky Park is in great demand.(…) Constanza Macras provocates her audience with trashy choreographies – and with humor she pulls it back on her side.” - Elisabeth Wellershaus, SPIEGEL ONLINE, 15.01.2011

Macras’ intention is not just to denounce grievances, she challenges our view on Africa as well – „The Offside Rules“ is more than a world cup aftermath. (…) Even though the play tells a story about exclusion, poverty and violence, which contradicts defiantly the new image of the Rainbow Nation: the performers from South Africa are winning the favor through their dance…“ Sandra Luzina, TAGESSPIEGEL, 17.01.2011

The music and the style of dancing, that has been brought along by the locally casted artists, are being used in multiple manners: On the one hand Macras leaves it to the drums, to indicate rhythm and speed, which brings back together fragments of scenes and connects single actions (…).“ - Katrin Bettina Müller, TAZ, 17.01.11

(…) a hard, aggressive and witty piece of dance. The performers throw themselves continually on the floor, fight wildly and even dribble one dancer as a football across the stage. Macras explains hardly anything, she wants the audience to find its own meaning in the play. That’s dance, she says, these are feelings, that can’t be described (…).“ - Christiane Miethge, CAPRICCIO | BAYERISCHES FERNSEHEN, 27.01.11

“The presentation is unusual. There are parts you might not like. There are parts that will confuse you. But what is undoubtedly the delight in this work is the unexpected clash of imagery, the excitement of “what’s going on now?” that keeps you watching.” - Times LIVE South-Africa, May 2010

“These are the “Offside Rules” – rules that are far offside the wide streets for those who want to fit in with the social norm. Here, dance develops a strong sense of its own political force beyond complaints about petty grievances. And when all of the dancers drum that powerful rhythm together, one simply cannot escape their fierce energy as they assert themselves.”Badische Zeitung, February 2011