Identity
Identity is one of the play's most essential themes. Both Styles and Sizwe repeatedly discuss the question of what lies at the core of each individual. While discussing a deceased man he photographed, Styles says that the most important thing is having one's name remembered by future generations. Likewise, Sizwe expresses hesitancy about assuming a new persona, as it means that his old identity will perish with his name. Styles also remarks that identity is the most important thing someone can have, as it is the only thing they truly own. The story's central conflict of the story is whether or not Sizwe is better off suffering under his real name or living an easier life with a new identity.
Inequality
Inequality is an important theme in the play. Under apartheid, the Black characters portrayed in the story are required to carry around identification papers. As a result of this and other laws, they are effectively treated as second-class citizens. They are paid less at their jobs, subjected to brutal working conditions, and, as is seen with Sizwe, threatened with the possibility of imprisonment and deportation at all times. After Sizwe loses his job, he will either be removed from his province or have to seek out dangerous work in a mine. Characters like Sizwe are forced to contend with injustice at every turn, as they are caught in a system designed to make them suffer and keep them powerless.
Survival
Survival is a key theme in the story. Early in their conversation, Sizwe surprises Buntu. While talking about the mines, he says that he does not want to die. Buntu then seems to see Sizwe more clearly and offers him different advice. He perceives that for all of Sizwe's misery, he values the life he has built and wants to hold onto it. For this reason, when they come upon the dead man's papers, Buntu pushes Sizwe to take them. He tells him that he has no other options that will guarantee his survival. Sizwe is driven to make a painful choice. In order to preserve his life, he must sacrifice his identity.
Labor
Labor is another important theme in the book. Styles recounts his days work at the Ford factory with great scorn. He says that his floor manager worked his employees brutally and often called them racial slurs. The work was dangerous and monotonous, leaving no room for individuality. In contrast, his work as a photographer is personally fulfilling and brings him great joy. In fact, his photographs of people allow them to see themselves more clearly and be remembered by their friends and family. The play shows the way in which Styles's first job dehumanized him and his second job allowed him to experience a sense of freedom and meaning.
Names
Names are also a major theme in the play. Sizwe enters Styles studio and gives him a fake name. The reader is tipped off to this when he is referred to as "man" in the stage directions, despite telling Styles his name is Robert. Over the course of the play, the reader learns that his real name is Sizwe Bansi and that he has actually taken the name of a dead man in order to avoid being deported. He is hesitant to do this, saying that giving up his name is effectively giving up his life. While he ultimately chooses to give up "Sizwe Bansi," their play suggests that he has lost some part of himself in doing so.
Death
Death is another important theme in the play. Early in the story, Styles talks about how his pictures allow people to remember their relatives. He says that the physical object of a photograph lets people hold onto their loved ones and carry their names through the generations. In contrast, when Sizwe and Buntu seize the papers of the dead man, Robert, they effectively erase his existence. The play shows how, in death, these characters are forced to rely on the living to respect what they leave behind. In the case of the photograph, this allows the family to cherish the memory of a beloved father. However, the deceased man is erased when Sizwe takes over his identity.
Photography
Photography is a main theme in the play. Styles says that his photographs give people the ability to hold on to memories and form closer connections. He takes pride in his work, as he believes he is providing people with an essential service. This idea is complicated when Sizwe arrives in his studio, as he does not reveal the true reason for having his picture taken. Later, the reader learns that Sizwe is committing identity theft. The play highlights how Styles's photography can also be used in the construction of a fake persona, showing its equal potential to destroy a memory or legacy of a real individual.
