Fugard


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Fugard

Athol . born 1932, South African dramatist and theatre director. His plays include The Blood-Knot (1961), Sizwe Bansi is Dead (1972), Statements after an Arrest under the Immorality Act (1974), and The Captain's Tiger (1999)
References in periodicals archive ?
Alhoewel Fugard in enkele vorige dramas van medewerkers gebruik gemaak het (onder andere in die welbekende The Island, asook Sizwe Banzi is Dead, saam met die akteurs John Kani en Winston Ntshona), is dit die eerste keer wat hy saamwerk met iemand wat heeltemal buite die teaterwereld staan.
27) Fugard identifies this as a "moment of quiet tension" although he allows himself the more emphatic "dramatic metaphor" of the "Limit" (28) The second movement brought Val Donald into the picture with the first spoken words of the piece, "Let's dream about the sea
The fact that Fugard, although seen to be an "English" playwright, often describes himself as a "bastardized Afrikaner" (Vandenbroucke 1986: 15): speaks Afrikaans; and states that he can identify with the Afrikaner (1)
Some asides are riveting, especially for theatre students--such as his casual references to watching shows in London with Fugard, his wife and actors such as Ben Kingsley, and of having Kathy Bates coming around to their place to work with Yvonne while they were preparing The Road to Mecca.
Alcoholism in Third-World Literature: Buchi Emecheta, Athol Fugard, and Anita Desai.
Victory," the hard-hitting and incongruously titled new play by Fugard, in its American premiere at the Fountain Theatre, is as tough and compact as it is grim.
Writer-director Gavin Hood delivers a compelling morality tale, adapted from a novel by Athol Fugard, that steadfastly avoids pat sentimentality or sermonising.
The foreign language Oscar winner, Tsotsi, from South Africa, is based on an early novel by Athol Fugard, known in the United States primarily as a playwright.
Hough commends Fordsburg's Finest in this regard with his comment that Athol Fugard promised the groundwork for reconciliatory confrontation between black and white on the South African stage in his drama, Playland (1992), and that in Fordsburg's Finest this promise is fulfilled (Hough, 1998:28).
Anthony Scott Waters, John Reed Fugard IV, Patrick Bryan Ford, Russell Joseph Hill, Steven Nolen Potts, and Christopher Neely Alves.
and the boys, written by Athol Fugard, chronicles an embarrassing and painstaking chapter from the playwright's own teenage years.
retrieves the work of Hans Urs von Balthasar on drama and divine self-revelation as relevant to postmodern conversations and employs his categories to read plays by Athol Fugard and Peter Shaffer on issues of love and self-dispossession.