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.
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Athol Fugard Movies
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The Coat By Athol Fugard
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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.
![Athol fugard facts Athol fugard facts](/uploads/1/2/4/0/124028306/513042901.jpeg)
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. 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.