Thesis Title: Athol Fugard-his dramatic work with special reference to his later plays. In the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's. 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. The Island is a play written Athol Fugard, John Kani, and Winston Ntshona. The apartheid- era drama, inspired by a true story, is set in an unnamed prison clearly based on South Africa's notorious Robben Island, where Nelson Mandela was held for twenty- seven years.
Item Metadata Title Athol Fugard and race relations: social dynamics under apartheid Creator Date Issued 1993 Description South African society operates a highly exploitative and repressive system that uses race to define relations of power and dependence to ensure the supremacy of its white citizens at the expense of non-whites. The major focus of this study will be to explore the impact of the apartheid policies on individual citizens and race-relations in South Africa as portrayed in three of the plays of Athol Fugard. Chapter One, as an introduction, will survey the various legislation Fugard alludes to in some of his plays which ensure racial segregation and oppression and serve as the foundation of apartheid. Chapter Two will look at the impact of the society's obsession with race or skin colour, and its use of it to categorise and control the people as presented in The Blood Knot. In Chapter Three, the restrictions on mobility and human contact, the depravity of the dispossessed, their sense of insecurity, and how they attempt to cope with the absurdity of their existence as exploited victims of apartheid (as evidenced in Boesman and Lena) will be discussed. The relationship between blacks and whites is handled by Fugard in his most autobiographical play 'Master Harold'. And the boys.
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Chapter Four looks at this play, focusing on how a little white boy under the pressures of personal insecurity draws upon racism in his desire to have a sense of himself but ends up jeopardising the otherwise intimate relationship he enjoys with a black man. In all the plays of Fugard, brotherhood or the affirmation of the bond of oneness among the characters who are in extreme intimate relationships, is continually contested by the imposition of society's racist ideology that undermines the relationships. We also see that Fugard condemns and defuses violence, but carefully shows its inevitability if the status-quo continues. His ultimate concern is the universal human plight that results from man’s inhumanity towards man rather than the particulars of the South African system. His plays examine fundamental truths of existence that are not limited to a single society: man's isolation, his lonely search for warmth, his need to affirm his identity, dignity and existence in a hostile world. Showing how survival in the world of apartheid is made nearly an impossibility, the plays of Athol Fugard are a tribute to the indomitability of the human spirit to survive the dehumanizing impact of this crime against humanity. In the Conclusion, I explore how Fugard advocates for racial harmony.
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A study of his plays shows that social and political change grow from individual action as the problem of apartheid is man-made. He suggests as a solution to the problem of racism a change in individual attitudes by calling for tolerance and brotherhood among all races, with the realization that all men are equal regardless of race or skin-colour.
The Island Athol Fugard Script Pdf
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In examining human relationships and human survival, the plays of Athol Fugard are a contribution to the field of modern drama in the effort to effect social change. Extent 2621000 bytes Genre Type File Format application/pdf Language eng Date Available 2008-09-05 Provider Vancouver: University of British Columbia Library Rights For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use. DOI 10.14288/1.0058196 URI Degree Program Affiliation Degree Grantor University of British Columbia Graduation Date 1993-11 Campus Scholarly Level Graduate Aggregated Source Repository DSpace Download Media 2.5MB Metadata JSON: JSON-LD: RDF/XML (Pretty): RDF/JSON: Turtle: N-Triples: Original Record: Full Text Citation Full Text.
Set during South African apartheid, The Islandis a play that Athol Fugard co-wrote with two writers and actors, John Kani and Winston Ntshona, both Black South Africans. The three men met when they were members of a drama group called the Serpent Players, a group started by Fugard. The play premiered in 1974 in Cape Town, South Africa, and then played in London and New York, in repertory with another play by Fugard, Kani, and Ntshona called Sizwe Banzi is Dead.
The play is set in an unnamed prison widely believed to be Robben Island, whose most famous prisoner, Nelson Mandela, was kept captive there for twenty-seven years. The two protagonists of the play, John and Winston, are prisoners; one has recently successfully appealed his sentence and is soon to be released, while the other has been sentenced for life. As the two of them grapple with the dehumanizing effects of apartheid and imprisonment, they also prepare to perform Sophocles' play Antigone for the other prisoners. Over the course of The Island, we begin to see parallels between Antigone's plight and the plight of the prisoners.
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The play was successful in South Africa and soon earned a run in London's West End, premiering at the Royal Court Theater in Haymarket. John Kani and Winston Ntshona starred in the London production, playing their namesake characters. The production on Broadway opened a year later and earned Tony Awards for both Kani and Ntshona.