Athol Fugard

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Fugard, Athol

Fugard, Athol (Athol Harold Lanigan Fugard) (ätōlˈ fyo͞oˈgard, fo͞o–), 1932–, South African playwright, actor, and director. In 1965 he became director of the Serpent Players in Port Elizabeth; in 1972 he was a founder of Cape Town's Space Experimental Theatre. One of the first white playwrights to collaborate with black actors and workers, Fugard writes of the frustrations of life in contemporary South Africa and of overcoming the psychological barriers created by apartheid. Some of his works, such as Blood Knot (1960), the first in his family trilogy, were initially banned in South Africa. Widely acclaimed, his plays include Boesman and Lena (1969), Sizwe Bansi Is Dead (1972), A Lesson from Aloes (1978), the semiautobiographical work Master Harold … and the Boys (1982), The Road to Mecca (1985), and Playland (1993). In his first two postapartheid plays, Valley Song (1995) and The Captain's Tiger (1998), Fugard addresses rather personal concerns, but in Sorrows and Rejoicings (2001) he focuses on the complex racial dynamics of South Africa's new era. In Victory (2007), Fugard uses his experience as a burglary victim to dramatize a bleak contemporary South Africa, where theft and violence thrive. Fugard has also written one novel, Tsotsi (1980).


See also his Notebooks 1960–1977 (1983) and Cousins: A Memoir (1998).

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References in periodicals archive ?
Master Harold" is a frank autobiography of Athol Fugard's agonized growing up with an alcoholic, disabled father and his mother in South Africa in the 1950s; it is a reenactment of his complicated relationship with his good friend and mentor, Sam, the Fugard family's Black employee; it is also a quiet, piercing reflection on the legacy of apartheid.
But we should bear in mind that he has worked for decades in the company of South Africa's greatest actors--Pieter-Dirk Uys, Paul Slabolepszy, Bill Flynn, Wilson Dunster, his wife Yvonne Bryceland, and writers such as Athol Fugard and Geraldine Aron.
and the boys: Athol Fugard and the Psychopathology of Apartheid." Modern Drama 30 (1987): 505-13.
Writer-director Gavin Hood delivers a compelling morality tale, adapted from a novel by Athol Fugard, that steadfastly avoids pat sentimentality or sermonising.
One can also concur with the commentators' remark that this play is part of the tradition started by Athol Fugard and others, of the so-called "protest theatre" or "political theatre" in this country.
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.
The backdrop of the ugly Soweto slums is possibly more interesting than the story (which is based on Athol Fugard's novel), though Chweneyagae is impressive as the baby-faced thug who is staggeringly inept when it comes to taking care of a baby.
and the boys, written by Athol Fugard, chronicles an embarrassing and painstaking chapter from the playwright's own teenage years.
Casting Shadows: Images from a New South Africa by Lesley King-Hammond, Mongane Wally Serota, Lemuel Johnson and Athol Fugard Photographs by Edward West University of Michigan Museum of Art January 2001, $40.00 ISBN 0-295-98117-2
Fine art and literature met at the world premiere of "Sorrows and Rejoicings," a play by South African writer Athol Fugard at the McCarter Theatre Center.
Kriben Pillay's "Narrative Devices, Time and Ontology in Sizwe Bansi Is Dead" and "The Amistad Affair and the Nation of Sierra Leone" by Iyunolu Osagie are insightful, the former for its emphasis on the staging and performance of this one-act play by Athol Fugard, John Kani, and Winston Ntshona, and the latter for Osagie's discussion of the impact that the play Amistad Kata1
South African playwright Athol Fugard asserted in the `80s that "the central transaction of the universe is one person caring for and loving another." This is applicable in the Middle East, though with a tragic difference: It's largely absent between Israelis and Palestinians.