Athol Fugard Born Harold Athol Lannigan Fugard ( 1932-06-11) 11 June 1932 (age 86), South Africa Occupation Playwright, novelist, actor, director, teacher Nationality South African Citizenship South African and American Education (dropped out) Period 1956–present Genre Drama, novel, memoir Notable works Spouse (m. 2015) Paula Fourie (m. 2016) Children Harold Athol Lanigan Fugard (born 11 June 1932) is a playwright, novelist, actor, and director who writes in.
He is best known for his political plays opposing the system of and for the 2005 -winning, directed. Fugard was an of playwriting, acting and directing in the Department of Theatre and Dance at the. For the academic year 2000–2001, he was the IU Class of 1963 Wells Scholar Professor at, in. He is the recipient of many awards, honours, and, including the 2005 in Silver 'for his excellent contribution and achievements in the theatre' from the government of South Africa.
He is also an Honorary Fellow of the. The Fugard Theatre in, Cape Town, written in 1982, incorporates 'strong autobiographical matter'; nonetheless 'it is fiction, not ', as and some of Fugard's other works are subtitled. His post-apartheid plays, such as, and his 2007 play, focus more on personal than political issues.
The Fugard Theatre, in the area of opened with performances by the theatre company in February 2010 and a new play written and directed by Athol Fugard, The Train Driver, will play at the theatre in March 2010. Fugard's plays are produced internationally, have won multiple awards, and several have been made into films, including among their actors Fugard himself. His film debut as a director occurred in 1992, when he co-directed the adaptation of his play with Peter Goldsmid, who also wrote the screenplay.
The film adaptation of his novel, written and directed by, won the 2005 in 2006. Plays In chronological order of first production and/or publication:. (1956). (1957). (1958). (1959). (1961); later revised and entitled (1987).
(1965). (1966). (1968). (1969).
![The Island By Athol Fugard Pdf Download The Island By Athol Fugard Pdf Download](/uploads/1/2/3/9/123992904/108963009.png)
(1969). (1970). (1972) (developed with, and in workshops). (1972) (developed with, and in workshops). (1972).
(1975). (1978). (1978). (1980).
(1982). (1984). (1987). (1989).
(1992). (1993).
(1996). (1997). (2001).
(2004). (2006). (2007). (2009). (2009).
(2010). (2014). (2016) Bibliography.
Statements: Three Plays. Oxford and New York: (OUP), 1974. (Co-authored with and; see below.). Three Port Elizabeth Plays:; Hello and Goodbye; and. Oxford and New York, 1974. New York:, 1976. and Two Early Plays.
Oxford and New York: OUP, 1977. and Other Plays. Oxford and New York: OUP, 1980.
Selected Plays of Fugard: Notes. Dennis Walder. London:, 1980.
Beirut: York Press, 1980. Tsotsi: a novel. New York: Random House, 1980. Oxford and New York: OUP, 1981. Donker, 1982. Oxford and New York: OUP, 1983. Oxford and New York: OUP, 1983.
New York and London: Penguin, 1984.: A Play in Two Acts. London:, 1985. Suggested by the life and work of of, South Africa. Selected Plays.
Oxford and New York: OUP, 1987. Includes:; (new version); Hello and Goodbye;.: a personal parable.
London: Faber and Faber, 1988. and Selected Shorter Plays. Johannesburg: Witwatersrand UP, 1990. and Other Plays. New York:, 1991.
and Other Worlds. Johannesburg: UP, 1992. The Township Plays.
Dennis Walder. Oxford and New York: OxfordUP, 1993. Includes:, and., Johannesburg: Witwatersrand UP, 1994. Hello and Goodbye. Oxford and New York: OUP, 1994. London: Faber and Faber, 1996.
Johannesburg: Witwatersrand UP, 1997. Athol Fugard: Plays. London: Faber and Faber, 1998. Interior Plays. Oxford and New York: OUP, 2000. Port Elizabeth Plays.
Oxford and New York: OUP, 2000. New York:, 2002. New York:, 2004. Co-authored with and. Statements: Three Plays. By Athol Fugard, John Kani, and Winston Ntshona.
Oxford and New York: OUP, 1978. 'Two workshop productions devised by Athol Fugard, John Kani, and Winston Ntshona, and a new play'; includes: and, and. Co-authored with Ross Devenish.
The Guest: an episode in the life of Eugene Marais. By Athol Fugard and Ross Devenish. Craighall: A.
Donker, 1977. ( Die besoeker: 'n episode in die lewe van Eugene Marais.
Into by Wilma Stockenstrom. Craighall: A. Donker, 1977.) Filmography Films adapted from Fugard's plays and novel. (1974), dir. (1980), dir. Ross Devenish. (1984), dir., first broadcast on.
(1991), co-dir. By Fugard and Peter Goldsmid (screen adapt.). (2000), dir. (2005), screen adapt. And dir.; 2005.
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' (2010), dir.
It seems like I can only bring myself to read magazine articles and plays these days. I can't pay attention any longer than that. A strikingly simple play set in an industrail hub of South Africa, this play deals with identity in a world controlled by bureaucracies and institutional racism. Fugard makes Apartheid look like Big Brother from 1984. Of course I'm oversimplifying and the story deals more with personal identity than cultural or national identity - and this theme is easily translated to It seems like I can only bring myself to read magazine articles and plays these days. I can't pay attention any longer than that. A strikingly simple play set in an industrail hub of South Africa, this play deals with identity in a world controlled by bureaucracies and institutional racism.
Fugard makes Apartheid look like Big Brother from 1984. Of course I'm oversimplifying and the story deals more with personal identity than cultural or national identity - and this theme is easily translated to a world where we pick internet monikers and stage names through which we express ourselves. What's in a name?
Would I be me without my name? I'm going to see the play performed at the Brooklyn Academy of Music tonight, so maybe the live setting will shed some more light of this well-constructed, but maybe simplistic play. At first I did not really care for this play, at least compared to the other Fugard play I've read, which I liked a lot.
However, in the class I am sitting in on, we started discussing and watching a video version, and that really illuminated aspects of the play I hadn't initially considered. The conflict, embodied in spatial settings as well as attitudes, between the possibilities of dreams and the reality of apartheid gives the play a dynamic framework, making its anti-apartheid stance all the At first I did not really care for this play, at least compared to the other Fugard play I've read, which I liked a lot. However, in the class I am sitting in on, we started discussing and watching a video version, and that really illuminated aspects of the play I hadn't initially considered. The conflict, embodied in spatial settings as well as attitudes, between the possibilities of dreams and the reality of apartheid gives the play a dynamic framework, making its anti-apartheid stance all the more violent. Not only does the play react to the harsh realities of apartheid oppression, it shows the emptiness of the few dreams apartheid allowed. But, this play also shows those dreams as psychical spaces for resistance to apartheid and its dehumanizing system of passbooks and restrictions. Harold Athol Lannigan Fugard (b.
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June 11, 1932, Middelburg, South Africa), better known as Athol Fugard, is a South African playwright, actor, and director. His wife, Sheila Fugard, and their daughter, Lisa Fugard, are also writers. Athol Fugard was born of an Irish Roman Catholic father and an Afrikaner mother. He considers himself an Afrikaner, but writes in English to reach a larger audience. Hi Harold Athol Lannigan Fugard (b.
June 11, 1932, Middelburg, South Africa), better known as Athol Fugard, is a South African playwright, actor, and director. His wife, Sheila Fugard, and their daughter, Lisa Fugard, are also writers. Athol Fugard was born of an Irish Roman Catholic father and an Afrikaner mother. He considers himself an Afrikaner, but writes in English to reach a larger audience. His family moved to Port Elizabeth soon after he was born. In 1938, he was enrolled at the Marist Brothers College — a Catholic primary school (although he is not known to be a Roman Catholic).
After being awarded a scholarship, he enrolled at the local technical college for his secondary education. He then enrolled in the University of Cape Town but dropped out. He sailed around the world working on ships (mainly in the Far East).
Fugard married Sheila Meiring, now known as Sheila Fugard, then an actress in one of his plays, in September 1956. She later became a novelist and poet in her own right. They started the Serpent Players in Port Elizabeth before moving to Johannesburg where he was employed as a court clerk. Working in the court environment and seeing how the Africans suffered under the pass laws provided Fugard with a firsthand insight into the injustice and pain of apartheid.
Working with a group of black actors (including Zakes Mokae), Fugard wrote his first play No Good Friday. Returning to Port Elizabeth in the early 1960s, he worked with a group of actors whose first performance was in the former snake pit of the zoo, hence the name The Serpent Players. The political slant of his plays bought him into conflict with the government. In order to avoid prosecution, he started to take his plays overseas. After Blood Knot, was produced in England, his passport was withdrawn for four years. In 1962, he publicly supported an international boycott against segregated theatre audiences which led to further restrictions.
He worked extensively with two black actors John Kani and Winston Ntshona and workshopped three plays viz. Sizwe Banzi is Dead, The Island and Statements After an Arrest Under the Immorality Act.
The early plays workshopped with Kani and Ntshona were staged in black areas for a night and then the cast moved to the next venue – probably a dimly lit church hall or community centre. The audience was normally poor migrant labourers and the residents of hostels in the townships. The plays at this time were political and mirrored the frustrations in the lives of the audience.
Fugard's plays drew the audience into the drama, they would applaud, cry and interject their own opinions. Fugard used feedback from the audience to improve the plays – expanding the parts that worked and deleting the ones that did not. For example in Sizwe Banzi is Dead, migrant worker Bansi can only survive by assuming someone else's identity and getting the important apartheid pass in order to get a job. When he debates how Sizwe would effectively “die” and whether the sacrifice would be worth it, the audience would cry out “Go on, Do it,” because they appreciated that without a pass you were effectively a non-entity. Sets and props were improvised from whatever was available which helps to explain the minimalist sets that productions of these plays utilise. In 1971, the restrictions against Fugard were eased, allowing him to travel to England in order to direct Boesman and Lena. Master Harold.and the Boys, written in 1982 is a semi-autobiographical work.
Fugard showed he was against injustice on both sides of the fence with his play My Children! Where he attacked the ANC for deciding to boycott African schools as he realised the damage it would cause a generation of African pupils. With the demise of apartheid, Fugard's first two postapartheid plays Valley Song and The Captain's Tiger focused on personal rather than political issues.
His plays are regularly produced and have won many awa.
The five plays collected here offer a unique insight into the role of theatre in a situation of oppression. They were produced in close collaboration with their original black amateur casts, drawing on their lives and everyday experiences in the townships. They range from the early apprentice work of the brash but vital Sophiatown plays, No-Good Friday and Nongogo, to the freer, more urgent, and profound New Brighton plays, including the most famous Sizwe Bansi is Dead and The Island, and the previously unavailable The Coat.
This article addresses the creation of Athol Fugard’s plays not as performances or as texts, but as material objects, and examines how the meaning and value of his plays were constructed through the interventions of his publisher. The paper draws attention to the sharp distinction in the way that Fugard’s performances and published plays have been received, most acutely with respect to the plays Sizwe Bansi is Dead, The Island and Statements After an Arrest Under the Immorality Act. These plays directly addressed and attacked apartheid legislation and enforcement. In performance in South Africa between 1972–1973 they were regarded as radical and subversive by the South African authorities as well as by audiences and critics.
The Oxford University Press edition of this trilogy, Statements: Three Plays (1974), was by contrast packaged as a literary and commercial product that circulated free from censorship. This essay explores the reasons for this dichotomy through a detailed author/publisher case study of the publication history of the plays. It analyses the means by which Fugard was re-branded as an “Oxford author” through the book’s publication in the Oxford Paperback Series, and assesses the impact of this brand on the reception of Fugard’s plays. The published book was also a more individualistic creative product than the performances of the plays: the Press applied a conventional model of authorship which served to defuse the radical, interracial partnership between Fugard and his co-writers Winston Ntshona and John Kani. Likewise, the political content was neutralized as the plays were promoted as allegorical literary works of universal significance.
By these means, it is argued, Fugard was successfully incorporated into the literary establishment in the UK, the USA and South Africa under apartheid. Amuta, C ( 1989) The Theory of African Literature: Implications for Practical Criticism.
London: Zed Books. ( 16 January 1978) Letter. Fugard: Statements, Archives of the Oxford University Press (AOUP).
Summary Of The Island By Athol Fugard
Bourdieu, P ( 1993a) The field of cultural production, or: The economic world reversed. In Johnson, R (ed) The Field of Cultural Production. London: Routledge, 29– 73. Bourdieu, P ( 1993b) The production of belief. In: Johnson, R (ed) The Field of Cultural Production. London: Routledge, 74– 111. Bourdieu, P ( 1993c) The market of symbolic goods.
In: Johnson, R (ed) The Field of Cultural Production. London: Routledge, 112– 144. Brain, R ( 20 April 1972) Letter to Fugard A. Fugard: Hello and Goodbye, OP2005/15116. Brain, R ( 9 May 1972) Letter to Fugard A. Fugard: Hello and Goodbye, OP2005/15116. Brain, R ( 16 August 1973) Letter to Fugard A.
Fugard: Boesman and Lena, OP2007/15136. Brain, R ( 6 February 1974) Letter to Benson M. Fugard: Statements. Brain, R ( 3 March 1974) Letter to Buckroyd C. Fugard: Statements. Brink, A ( 1993) “No way out”: Sizwe Bansi is Dead and the dilemma of political drama in South Africa.
Twentieth Century Literature 39(4): 438– 454., Buckroyd, C ( 13 May 1974) Letter to Sheil A. Fugard: Statements. Buckroyd, C ( 14 May 1974) Letter to Fugard A. Fugard: Statements. Buckroyd, C ( 14 May 1974) Letter to Kani J and Ntshona W.
Fugard: Statements. Buckroyd, C ( 5 July 1974) Letter to Benson M. Fugard: Statements. Daily Telegraph ( 13 October 1976) 97.15.4.1. National English Literary Museum (NELM).
Davis, C ( 2005) The politics of postcolonial publishing: Oxford University Press’s Three Crowns series 1962–1976. Book History 8, 228– 242., Davis, C ( 2010) Histories of publishing under apartheid: Oxford University Press in southern Africa. Journal of Southern African Studies 37(1): 79– 98., Foreign Policy Study Foundation ( 1981) South Africa: Time Running Out, A Report on the Study Commission on the US Policy towards Southern Africa. Berkeley: University of California Press.
Fugard, A ( 1966) Hello and Goodbye. Cape Town: Balkema. Fugard, A ( 1969) Boesman and Lena. Cape Town: Buren. Fugard, A ( 1969) People are Living There. Cape Town: Buren. Fugard, A ( 1970) People are Living There: A Play in Two Acts.
London: Oxford University Press. Fugard, A ( 1973) Boesman and Lena: A Play in Two Acts. London: Oxford University Press. Fugard, A ( 1973) Hello and Goodbye: A Play in Two Acts. London: Oxford University Press. Fugard, A ( 1974) Three Port Elizabeth Plays.
London: Oxford University Press. Fugard, A ( 1974) Statements: Three Plays. Oxford: Oxford University Press.
Fugard, A ( 1977) Dimetos and Two Early Plays. Oxford: Oxford University Press. Fugard, A ( 1978) Statements: Three Plays. New York: Oxford University Press. Fugard, A ( 1978) Boesman and Lena and Other Plays.
Oxford: Oxford University Press. Fugard, A ( 1981) A Lesson from Aloes: A Play. Oxford: Oxford University Press. Fugard, A ( 1983) ‘Master Harold’ - and the Boys. Oxford: Oxford University Press. Fugard, A ( 1984) Notebooks, 1960–1977 (ed, Benson, M).
New York: Alfred A. Fugard, A ( 19 February 1974) Letter to Heapy R. Fugard: Statements. Fugard, A ( 12 March 1974) Letter to Buckroyd C.
Fugard: Statements. Fugard, A, Kani, J, Ntshona, W ( 1976) Sizwe Bansi is Dead & The Island. New York: Viking. Gardiner, J ( 2000) Recuperating the author: Consuming fictions of the 1990s. Papers of the Bibliographical Society of America 94(2): 255– 274., Garuba, H ( 2001) The island writes back: Discourse/power and marginality in Wole Soyinka’s The Swamp Dwellers, Derek Walcott’s The Sea at Dauphin, and Athol Fugard’s The Island.
Research in African Literatures 32(4): 61– 76., Genette, G ( 1997) Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press., Gracie, N ( 19 February 1974) Letter to Buckroyd C. Fugard: Statements.
Gracie, N ( 3 August 1977) Letter to Sisman A. Fugard: Statements. Gray, S ( 1982) (ed) Athol Fugard. Johannesburg: McGraw Hill.
Heapy, R ( 9 March 1973) Letter to Fugard A. Fugard: Boesman and Lena, OP2007/15136. Heapy, R ( 29 August 1973) Letter to EAK Ely House. Fugard: Boesman and Lena, OP2007/15136. Heapy, R ( 27 February 1974) Letter to Fugard A. Fugard: Statements. Hench, JB ( 2010) Books as Weapons: Propaganda, Publishing and the Battle for Global Markets in the Era of World War II.
New York: Cornell University Press. Kani, J, Ntshona, W ( 2 November 1976) Letter to the Royal Court Theatre. Merrett, C ( 1995) A Culture of Censorship: Secrecy and Intellectual Repression in South Africa. Cape Town: David Philip. New publishing proposal ( March 1974) Fugard: Statements. Royal Court Theatre ( 1973) A South African Season. Sales Figures for Statements.
Fugard: Statements. Seymour, H ( 1980) “Sizwe Bansi is Dead”: A study of artistic ambivalence. Race and Class 21(3): 273– 289., Sheil, A ( 29 April 1974) Letter to Brain R. Fugard: Statements. Sheil, A ( 8 May 1974) Letter to Buckroyd C. Fugard: Statements.
Swett, R ( 18 January 1978) Letter to Linnet, CC. Soyinka: Four Plays, 015019. October 1976) 97.15.1.1–97.15.5.5. Vandenbroucke, R ( 1985) Truths the Hand Can Touch. New York: Theatre Communications Group.
Van der Vyver, J ( 1983) General aspects of the South African censorship laws. In: Coggin, T (ed) Censorship: A Study of Censorship in South Africa. Johannesburg: South Africa Institute of Race Relations. Walder, D ( 1984) Athol Fugard by Stephen Gray. Research in African Literatures 15(3): 461– 464.
Walder, D ( 1993a) Crossing boundaries: The genesis of the township plays. Twentieth Century Literature: A Scholarly and Critical Journal 39(4): 409– 422., Walder, D ( 1993b) Township Plays.
Oxford: Oxford University Press. Walder, D ( 2003) Athol Fugard. Tavistock: Northcote House Publishers Ltd. Wertheim, A ( 2000) The Dramatic Art of Athol Fugard.
Bloomington: Indiana University Press. Wilhelm, P ( 1982) Athol Fugard at forty (interview). To the Point. In: Gray, S (ed) Athol Fugard. Johannesburg: McGraw-Hill, 114.
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