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Athol Fugard

 
Britannica Concise Encyclopedia: Athol Harold Lannigan Fugard
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(born June 11, 1932, Middleburg, S.Af.) South African playwright, director, and actor. He wrote two plays before The Blood Knot (1963), a penetrating analysis of apartheid, established his international reputation. He resumed the theme in Hello and Goodbye (1965) and Boesman and Lena (1969). He experimented with an imagist approach to drama in Orestes (1978) and three other works, then returned to more traditionally structured plays. His "Master Harold"…and the Boys (1982) and The Road to Mecca (1985) were acclaimed in London and New York City. Subsequent plays include Playland (1992), The Captain's Tiger (1997), and Sorrows and Rejoicings (2002). Fugard acted in the films Marigolds in August (1980) and The Killing Fields (1984).

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American Theater Guide: Athol Fugard
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Fugard, Athol (b. 1932), playwright. He was born in Middleburg, South Africa, the son of an Afrikaner mother and a father of Irish‐Huguenot descent, and educated at the University of Capetown before writing plays in 1959. Fugard's first work to be produced in America was Non‐gogo (1978) at the Manhattan Theatre Club. His other plays to be seen in New York include The Blood Knot (1964), Boesman and Lena (1970), The Island/Sizwe Banzi Is Dead (1974), A Lesson from Aloes (1980), Master Harold . . . and the Boys (1982), The Road to Mecca (1988), and Valley Song (1995). Most of Fugard's plays concern apartheid and how it affects both the white and black citizens of his native country, and he is known for his poetic, philosophical tone rather than angry socialistic stance.

Biography: Athol Fugard
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Athol Fugard (born 1932) was a South African playwright known for his subtle, poignant descriptions of the racial problems in his country.

Athol Fugard was born on June 11, 1932, in Middelburgh, a small village in the Karroo district in South Africa, of an English-speaking father and an Afrikaner mother. When he was three years old the family moved to Port Elizabeth, an industrial city on the Indian Ocean coast where Fugard was to spend, off and on, most of his life, and where he was to set most of his plays. He began his higher education studying motor mechanics at the technical college, but he transfered to Cape Town University to study philosophy and social anthropology.

Merchant Seaman

After three years he quit school, deciding instead to hitchhike up the African continent. He became a merchant seaman in North Africa and spent two years sailing around the Far East. In 1956 he returned to Port Elizabeth and found a job writing news bulletins for the South Africa Broadcasting Corporation. That year he also married Sheila Meiring, an actress. Together they started an experimental theater group for which Fugard wrote plays. In 1958 the couple went to Johannesburg, where Fugard secured a clerical position in the Native Commissioner's Court. It was while in Johannesburg that he made his first black friends and became fully aware of the extent of the racial problems in his country.

Fugard drew on his experiences in the slums of Johannesburg to write his first full-length play, No-Good Friday (1959). His second play came out that same year; titled Nongogo (A Woman for Twenty-Five Cents), an account of a woman who had been a mineworker's whore. Following the production of the second play, Fugard obtained his first paying position in the theater as a stage manager in the National Theatre Organisation.

His first major play, The Blood Knot, was written in 1961. It is set in Korsten, a non-white slum near a factory area in Port Elizabeth, and concerns two brothers: Morrie, who is somewhat educated and light skinned enough to pass for white, though he chooses not to, and Zach, who is illiterate and dark skinned. The conflict between the two brothers, who live together, begins when Zach somehow acquires a pen-pal who turns out to be a white girl. He wants to meet her but cannot, and Morrie could meet her but does not want to.

The Blood Knot later became part of a triology known as The Family. The two other plays include Hello and Goodbye (1969) and Boesman and Lena (1969). These plays also deal with destitution in Port Elizabeth. Hello and Goodbye takes place on Valley Road, a poor white area near the center of town. It is about Hester Smit, a woman who returns after a long absence to claim money that she thought had been paid to her father after a crippling industrial accident. Her brother, Johnnie, experiences some difficulty in explaining to her that their father is dead and that the money was never paid. Boesman and Lena is about a black couple evicted from their home and forced to live in the mudflats near the Swartkops River. The play depicts the depths to which human existence can descend.

After The Blood Knot appeared, the South African government passed harsh censorship laws that forbade racially mixed casts and/or audiences in theaters. When the English television network BBC broadcast The Blood Knot in 1967 the South African government confiscated Fugard's passport for four years. He was not allowed to leave the country until 1971 when he went to London to direct Boesman and Lena at the Royal Court Theatre, where most of his plays have since been performed.

Politics without Dogma

The primary strength of Fugard's work lies in the way in which his works convey strong political messages without being dogmatic. He chose plays as his medium of speech because he felt that the theater enabled him to reach the largest number of people. His messages were discreet enough that his plays could be performed in South Africa, yet strong enough to have an important impact on the audience. While his plays were not explicitly anti-apartheid, the sorrows that arise in them do so as a result of apartheid. He said of his writing, "The sense I have of myself is that of a 'regional' writer with the themes, textures, acts of celebrations, of defiance and outrage that go with the South African experience. These are the only things I have been able to write about."

In 1974 Fugard published three plays. Sizwe Bansi is Dead is about a photographer, Styles, who wants to take a picture of Sizwe Bansi, a black whose work permit has been cancelled. Bansi, however, decides to exchange his identity for that of a corpse he finds in a ditch. The Island is about two black political prisoners, John and Winston, who share a cell on Robben Island. While they rehearse for a camp production of Sophocles' Antigone, they are struck with the contemporary relevance of the tragedy's message against tyranny. Statements after an Arrest under the Immorality Act depicts an affair between a white librarian and a black schoolteacher who are denounced to the police by their neighbors.

Appeared on Stage

Fugard's later works include A Lesson from Aloes (1978), Master Harold … and the Boys, perhaps his finest work (1982), and The Road to Mecca (1984). He also published a novel, Isoti (1979), based on notes taken on a voyage back from Europe in 1960. More recent plays are A Place with the Pigs (1987), My Children! My Africa! (1989), and Playland (1993). He published another novel, Tsotsi (1980), as well as film scripts. Fugard often directed and acted in his plays, as he did with 1995 and 1996 productions of Valley Song. In the play, Fugard played the character of the black grandfather, Jonkers, and the autobiographical character of the white author. Fugard stipulated that in subsequent productions, the two characters must be played by the same actor.

The stage was something of a pulpit for Fugard, and the actors in his plays preach with an artistic subtlety against the evils of apartheid. In My Children! My Africa!, friendship, idealism, and a young life are lost in the volatile political climate created by apartheid. In the mind of the public, Fugard's politics sometimes overshadowed the art of his plays. Writing in Time in 1994, William A. Henry III commented, "In his mind he is a poetic playwright, but the world has seen him as a political, even polemic one, and his works are valued more as a testimony against apartheid than for their subtle interplay of emotion and Beckettian sensitivity to the downtrodden."

Nelson Mandela biographer Mary Benson celebrated the lives of Fugard and another close friend, the late South African playwright Barney Simon, in her book Athol Fugard and Barney Simon: Bare Stage, a Few Props, Great Theatre. The subtitle came from a 1963 letter to Benson from Fugard describing plans for an upcoming production. Benson maintained the work of both playwrights could not be characterized simply as "protest theater." Speaking of her book to an interviewer, Benson remembered an interview once given by Simon. "He said, we should be going into people's lives, their souls, their ways of life. And if it brings in aspects of the struggle then that's okay. But it's good if it can go beyond just protesting the horrors, and inspire people to function constructively."

Though he traveled to direct and act in his plays, Fugard generally wrote when he was home in South Africa. During his later years he lived in his longtime home of Port Elizabeth.

Further Reading

Fugard is listed in The Modern Encyclopedia of World Drama (1984). A synopsis of South African theater that places Fugard in the context of his intellectual predecessors can be found in The Oxford Companion to the Theatre (1967). Selected portions of his journals are published under the title Notebooks 1960-1967 (1983), edited by Mary Benson.

Additional Sources

Read, John, Athol Fugard: A Bibliography, National English Literary Museum, 1991.

Actor: Athol Fugard
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  • Born: Jun 11, 1932 in South Africa
  • Occupation: Actor, Writer, Director
  • Active: '70s-2000s
  • Major Genres: Drama
  • Career Highlights: The Killing Fields, Master Harold and the Boys, Boesman & Lena
  • First Major Screen Credit: Boesman and Lena (1976)

Biography

An actor, writer, and director whose intensely political works has sometimes overshadowed his remarkable talent for character detail, Athol Fugard has been creating compelling dramas since the late '60s. A native of Middleburg, South Africa, who was born to English and Afrikaner parents, the aspiring writer was raised in Port Elizabeth and honed his skills at the University of Cape Town. Education eventually gave way to adventure, however, and Fugard soon abandoned school to hitchhike through Africa and, eventually, sail the world as a deckhand. Experimentation with acting led to writing, and though his efforts became notably more political, Fugard never lost sight of his characters -- conflicted figures whose deep internal conflicts often find them withdrawing from society. His freshman play No Good Friday earned Fugard notable attention in Johannesburg's Rehearsal Room, and his second, Blood Knot, proved so controversial that the playwright's passport was withdrawn. A return to Port Elizabeth led to an association with The Serpent Players, and the collaboration eventually yielded Boesman and Lena (in which Fugard served as both writer and star). Since then, the talented actor and playwright's work has been performed around the globe, with Boesman and Lena being adapted to film twice (in 1974 and again in 2000 with Danny Glover and Angela Bassett). In 1992, Fugard made his directorial debut with the film version of his enduring play The Road to Mecca. Outside of appearing in many of his own works, Fugard's compelling performances in Gandhi (1982) and The Killing Fields (1984) were a highlight of the politically motivated features. ~ Jason Buchanan, All Movie Guide
Wikipedia: Athol Fugard
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 This article may require cleanup to meet Wikipedia's quality standards. Please improve this article if you can. (January 2009)
Athol Fugard
Born Harold Athol Lanigan Fugard
June 11, 1932 (1932-06-11) (age 77)
Middelburg, Eastern Cape, South Africa
Occupation playwright, novelist, actor, director, teacher
Ethnicity Afrikaner and English
Citizenship South African and American
Writing period 1956 – present
Genres drama, novel, memoir
Notable work(s) Master Harold...and the Boys
Blood Knot
Spouse(s) Sheila Fugard (1956 – present)
Official website

Athol Fugard (born 11 June 1932) is a South African playwright, novelist, actor, and director who writes in English, best known for his political plays opposing the South African system of apartheid and for the 2005 Academy-Award winning film of his novel Tsotsi, directed by Gavin Hood.[1] He is an adjunct professor of playwriting, acting, and directing in the Department of Theatre and Dance at the University of California, San Diego.[2] For academic year 2000–2001, he was the IU Class of 1963 Wells Scholar Professor at Indiana University, in Bloomington, Indiana.[3] The recipient of many awards, honors, and honorary degrees, including the 2005 Order of Ikhamanga in Silver "for his excellent contribution and achievements in the theatre" from the government of South Africa,[4] he is also an Honorary Fellow of the Royal Society of Literature.[5]

Contents

Personal history

Athol Fugard was born as Harold Athol Lanigan Fugard, in Middelburg, Eastern Cape, South Africa, on 11 June 1932, to English and Afrikaner parents; his mother, Elizabeth Magdalena (née Potgieter), an Afrikaner, operated first a general store and then a lodging house; his father, Harold, was a disabled former jazz pianist of Irish, English and French Huguenot descent.[1][6][7] In 1935, his family moved to Port Elizabeth.[8] In 1938, he began attending primary school at Marist Brothers College, a private Catholic school founded by the Marist Brothers[9]; after being awarded a scholarship, he enrolled at a local technical college for secondary education and then matriculated at the University of Cape Town, but he dropped out of the university in 1953, a few months before final examinations.[1] He left home, hitchhiked to North Africa with a friend, and then spent the next two years working in the Far East on a steamer ship, the SS Graigaur,"[1] where he began writing, an experience "celebrated" in his 1999 autobiographical play The Captain's Tiger: A Memoir for the Stage.[10]

In September 1956, he married Sheila Meiring, a University of Cape Town Drama School student whom he had met the previous year.[1][11] Now known as Sheila Fugard, she is a novelist and poet, and the Fugards' daughter, Lisa Fugard, is also a novelist.[12]

The Fugards moved to Johannesburg in 1958, where he worked as a clerk in a "Native Commissioners' Court," which "made him keenly aware of the injustices of apartheid."[1] The political impetus of Fugard's plays brought him into conflict with the national government; in order to avoid prosecution, he would have his plays produced and published outside of South Africa.[11][13]

He and his wife live in San Diego, California,[14] where he teaches as an adjunct professor of playwriting, acting, and directing in the Department of Theatre and Dance at the University of California, San Diego (UCSD),[2] and maintain a residence in South Africa.[13]

Career

In 1958, Fugard organized "a multiracial theatre for which he wrote, directed, and acted," writing and producing several plays for it, including No-Good Friday (1958) and Nongogo (1959), in which he and his colleague black South African actor Zakes Mokae performed.[1]

After returning to Port Elizabeth in the early 1960s, Athol and Sheila Fugard started The Circle Players,[1] which derives its name from their influential production of The Caucasian Chalk Circle, by Bertolt Brecht.[15]

In 1961, in Johannesburg, Fugard and Mokae starred as the brothers Morris and Zachariah in the single-performance world première of Fugard's play The Blood Knot (revised and retitled Blood Knot in 1987), directed by Barney Simon.[16]

In 1962, Fugard publicly supported the Anti-Apartheid Movement (1959–1994), an international boycott of South African theatres due to their segregated audiences, leading to government restrictions on him and surveillance of him and his theatre by the Secret Police, and leading him to have his plays published and produced outside of South Africa.[13]

Lucille Lortel produced The Blood Knot at the Cricket Theatre, Off Broadway, in New York City, in 1964, "launch[ing]" Fugard's "American career."[17]

In the 1960s, Fugard formed the Serpent Players, whose name derives from their first venue, the former snake pit at the zoo,[13] "a group of black actors worker-players who earned their living as teachers, clerks, and industrial workers, and cannot thus be considered amateurs in the manner of leisured whites," developing and performing plays "under surveillance of the Security Police."[18]

Their plays utilized minimalist sets and props improvised from whatever materials were available; often staged in black areas for a night, the cast would move on to the next venue, such as a dimly-lit church hall or community center, where the audience consisted of poor migrant labourers and the residents of hostels in the townships.[citation needed]

According to Kruger,

the Serpent Players used Brecht's elucidation of gestic acting, dis-illusion, and social critique, as well as their own experience of the satiric comic routines of urban African vaudeville, to explore the theatrical force of Brecht's techniques, as well as the immediate political relevance of a play about land distribution. Their work on the Caucasian Chalk Circle and, a year later, on Antigone[13] led directly to the creation, in 1966, of what is still [2004] South Africa's most distinctive Lehrstück [learning play]: The Coat. Based on an incident at one of the many political trials involving the Serpent Players, The Coat dramatized the choices facing a woman whose husband, convicted of anti-apartheid political activity, left her only a coat and instructions to use it.[18]

In The Coat, Kruger observes, "The participants were engaged not only in representing social relationships on stage but also on enacting and revising their own dealings with each other and with institutions of apartheid oppression from the law courts downward," and "this engagement testified to the real power of Brecht's apparently utopian plan to abolish the separation of player and audience and to make of each player a 'statesman' or social actor.... Work on The Coat led indirectly to the Serpent Players' most famous and most Brechtian productions, Sizwe Bansi is Dead (1972) and The Island (1973)."[18]

Fugard developed these two plays for the Serpent Players in workshops, working extensively with John Kani and Winston Ntshona,[18] publishing them in 1974 with his own play Statements After an Arrest Under the Immorality Act (1972). The authorities considered the title of The Island, which alludes to Robben Island, the prison where Nelson Mandela was being held, too controversial, so Fugard and the Serpent Players used the alternative title The Hodoshe Span (Hodoshe being slang for prison work gang).[citation needed]

These plays "evinced a Brecthian attention to the demonstration of gest and social situations and encouraged audiences to analyze rather than merely applaud the action"; for example, Sizwe Banzi Is Dead, which "combined Brechtian critique and vaudevillian irony – especially in Kani's virtuoso improvisation – even provoked an African audience's critical interruption and interrogation of the action."[18] While dramatizing frustrations in the lives of his audience members, the plays simultaneously drew them into the action and attempted to have them analyze the situations of the characters in Brechtian fashion, according to Kruger.[18]

Blood Knot was filmed by the BBC Television in 1967, with Fugard's collaboration, starring the Jamaican actor, Charles Hyatt as Zachariah and Fugard himself as Morris, as in the original 1961 première in Johannesburg.[19] Less pleased than Fugard, the South African government of B. J. Vorster confiscated Fugard's passport.[6][20] Four years later, in 1971, partially as the result of international protest on his behalf, the South African travel restrictions against Fugard eased, allowing him to fly to England again, in order to direct Boesman and Lena.[citation needed]

"MASTER HAROLD...and the boys, written in 1982, incorporates "strong autobiographical matter"; nonetheless "it is fiction, not memoir," as Cousins: A Memoir and some of Fugard's other works are subtitled.[21]

Fugard demonstrates that he opposes injustices committed by both the government and by its chief political opposition in his play My Children! My Africa!, which attacks the ANC for deciding to boycott African schools, based on recognition of the damage that boycott would cause a generation of African pupils.[citation needed]

His post-apartheid plays, such as Valley Song, The Captain's Tiger: A Memoir for the Stage and his latest play, Victory (2007), focus more on personal issues than on political issues.[22][23]

Fugard's plays are produced internationally, have won multiple awards, and several have been made into films, including among their actors Fugard himself.[24]

His film debut as a director occurred in 1992, when he co-directed the adaptation of his play The Road to Mecca with Peter Goldsmid, who also wrote the screenplay.[24]

The film adaptation of his novel Tsotsi (Afrikaans for hoodlum), written and directed by Gavin Hood, won the 2005 Academy Award for Best Foreign Language Film in 2006.[24]

Plays

(in chronological order of first production and/or publication)[6][25][26][27][28]
  • Klaas and the Devil (1956)
  • The Cell (1957)
  • No-Good Friday (1958)
  • Nongogo (1959)
  • The Blood Knot (1961); later revised and entitled Blood Knot (1987)
  • Hello and Goodbye (1965)
  • The Coat (1966)
  • People Are Living There (1968)
  • The Last Bus (1969)
  • Boesman and Lena (1969)
  • Friday's Bread on Monday (1970)
  • Sizwe Bansi Is Dead (1972) (developed with John Kani, and Winston Ntshona in workshops)
  • The Island (1972) (developed with John Kani, and Winston Ntshona in workshops)
  • Statements After an Arrest Under the Immorality Act (1972)
  • Dimetos (1975)
  • Orestes (1978)
  • A Lesson from Aloes (1978)
  • The Drummer (1980)
  • Master Harold...and the Boys (1982)
  • The Road to Mecca (1984)
  • A Place with the Pigs: A Personal Parable (1987)
  • My Children! My Africa! (1989)
  • My Life (1992)
  • Playland (1993)
  • Valley Song (1996)
  • The Captain's Tiger: A Memoir for the Stage (1999)
  • Sorrows and Rejoicings (2001)
  • Exits and Entrances (2004)
  • Booitjie and the Oubaas (2006)
  • Victory (2007)
  • Coming Home (2009)

Bibliography

Co-authored with John Kani and Winston Ntshona
  • Statements: [Three Plays]. 1974. By Athol Fugard, John Kani, and Winston Ntshona. Rev. ed. Oxford and New York: Oxford UP, 1978. ISBN 0192811703 (10). ISBN 9780192811707 (13). ["Two workshop productions devised by Athol Fugard, John Kani, and Winston Ntshona, and a new play"; includes: Sizwe Bansi Is Dead and The Island, and Statements After an Arrest Under the Immorality Act.]
Co-authored with Ross Devenish
  • The Guest: An Episode in the Life of Eugene Marais. By Athol Fugard and Ross Devenish. Craighall: A. D. Donker, 1977. ISBN 0949937363. (Die besoeker: 'n episode in die lewe van Eugene Marais. Trans. into Afrikaans by Wilma Stockenstrom. Craighall: A. D. Donker, 1977. ISBN 0949937436.)

Filmography

Films adapted from Fugard's plays and novel[24]
Film roles[24]

Selected awards and nominations

Theatre[32]
Honorary awards
Honorary degrees

See also

Notes

  1. ^ a b c d e f g h i Craig McLuckie (Okanagan College) (2003-10-03). "Athol Fugard (1932–)". The Literary Encyclopedia. http://www.litencyc.com/php/speople.php?rec=true&UID=1651. Retrieved 2008-09-29. 
  2. ^ a b "Athol Fugard". University of California, San Diego (UCSD). http://theatre.ucsd.edu/people/faculty/AtholFugard/. Retrieved 2008-10-01. 
  3. ^ Athol Fugard and Bruce Burgun (IUB theater professor) (2000-09-29). "Conversation On line with South African Dramatist Athol Fugard". Indiana University at Bloomington. http://www.homepages.indiana.edu/092900/text/conversations.html. Retrieved 2008-09-29.  (RealAudio clip of interview.)
  4. ^ a b "Harold Athol Lanigan Fugard (1932 -)" (Web). 2005 National Orders Awards. South African Government Online (info.gov.za). 2005-09-27. http://www.info.gov.za/aboutgovt/orders/2005/fugard.htm. Retrieved 2008-10-04. 
  5. ^ "Fellows". Royal Society of Literature. http://www.rslit.org/index.php?n=Society.Fellows. Retrieved 2008-10-04. 
  6. ^ a b c Iain Fisher. "Athol Fugard: Biography" (Web). Athol Fugard: Statements. iainfisher.com. http://www.iainfisher.com/fugard/athol-fugard.html. Retrieved 2008-10-01. 
  7. ^ Fisher gives Fugard's full birth name as "Harold Athol Lanigan Fugard", spelling Fugard's middle name as Lanigan, following Dennis Walder, Athol Fugard, Writers and Their Work (Tavistock: Northcote House in association with the British Council, 2003). It is spelled as Lannigan in Athol Fugard, Notebooks 1960-1977 (New York: Theatre Communications Group, 2004) and in Stephen Gray's Athol Fugard (Johannesburg and New York: McGraw-Hill, 1982) and many other publications. The former spelling (single n) seems more authoritative, however, as it is also used by Marianne McDonald, a close UCSD colleague and friend of Fugard, in "A Gift for His Seventieth Birthday: Athol Fugard's Sorrows and Rejoicings", Department of Theatre and Dance, University of California, San Diego, rpt. from TheatreForum 21 (Summer/Fall 2002); in Fugard's National Orders Award (27 Sept. 2005) from the government of South Africa, presented to "Harold Athol Lanigan Fugard (1932 –)"; and in his "Full Profile" in Who's Who of Southern Africa (2007).
  8. ^ Athol Fugard; Dennis Walder, ed. and introd. The Township Plays. Oxford and New York: Oxford UP, 1993. pp. xvi. ISBN 9780192829252.  (Google Books limited preview.)
  9. ^ "History: St Dominic's Prior School ... Marist Brothers College" (Web). St Dominic's Priory School. http://www.priory.co.za/content.asp?PageID=595. Retrieved 2008-10-05. 
  10. ^ Albert Wertheim. The Dramatic Art of Athol Fugard: From South Africa to the World. Bloomington: Indiana UP, 2000. pp. 215, 224–38. ISBN 978-0253338235.  (Google Books limited preview.)
  11. ^ a b Sheila Fugard. "The Apprenticeship Years: Athol Fugard issue". Twentieth Century Literature (findarticles.com) 39.4 (Winter 1993). http://findarticles.com/p/articles/mi_m0403/is_n4_v39/ai_16087644. Retrieved 2008-10-04. 
  12. ^ Alden Mudge (2006-01-01). "African Odyssey: Lisa Fugard Explores the Moral Ambiguities of Apartheid". First Person: Interview. Bookpage.com. http://www.bookpage.com/0601bp/lisa_fugard.html. Retrieved 2008-10-02. 
  13. ^ a b c d e Marianne McDonald (Professor of Theatre and Classics) (April 2003). "Introd. of Athol Fugard" (YouTube Video clip). Times Topics, The New York Times. The New York Times Company. http://topics.nytimes.com/top/reference/timestopics/people/f/athol_fugard/index.html. Retrieved 2008-10-01.  [Times Topics menu includes link to UCSD YouTube clip of Athol Fugard's lecture, "A Catholic Antigone: An Episode in the Life of Hildegard of Bingen", Eugene M. Burke C.S.P. Lectureship on Religion and Society, University of California, San Diego (UCSD).]
  14. ^ Athol Fugard and Serena Davies (2007-04-08). "My Week: Athol Fugard". Telegraph.co.uk. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/08/04/btweek104.xml. Retrieved 2008-09-29. 
  15. ^ Loren Kruger. "Chapter 5: The Dis-illusion of Apartheid: Brecht in South Africa". Post-Imperial Brecht Politics and Performance, East and South. Cambridge Studies in Modern Theatre. Cambridge and New York: Cambridge UP, 2004. pp. 215–80. ISBN 9780521817080. http://books.google.com/books?id=s4Qizpti1Z4C.  (Google Books.)
  16. ^ Mel Gussow (1985-09-24). "Stage: 'The Blood Knot' by Fugard". The New York Times (The New York Times Company). http://theater2.nytimes.com/mem/theater/treview.html?res=9C05E5D91439F937A1575AC0A963948260. Retrieved 2008-10-05. 
  17. ^ ""Athol Fugard: Biography"". The Internet Off-Broadway Database. http://www.lortel.org/LLA_archive/index.cfm?search_by=people&keyword=name&first=Athol&last=Fugard&middle=. Retrieved 2008-10-02. 
  18. ^ a b c d e f Loren Kruger. "Chapter 5: The Dis-illusion of Apartheid: Brecht in South Africa". Post-Imperial Brecht Politics and Performance, East and South. Cambridge Studies in Modern Theatre. Cambridge and New York: Cambridge UP, 2004. pp. 217–18. ISBN 9780521817080.  (Google Books limited preview.)
  19. ^ Athol Fugard. Notebooks 1960-1977. Craighall: A. D. Donker, 1983. ISBN 086852011X. "Back in S'Kop after five weeks in London for BBC TV production of The Blood Knot. Myself as Morrie, with Charles Hyatt as Zach. Robin Midgley directing. Midgley reduced the play to 90 minutes...Midgley did manage to dig up things that had been missed in all the other productions. Most exciting was his treatment of the letter writing scene - 'Address her' - which he turned into an essay in literacy...Zach sweating as the words clot in his mouth...." 
  20. ^ Dennis Walder, "Crossing Boundaries: The Genesis of the Township Plays", Special issue on Athol Fugard, Twentieth Century Literature (Winter 1993); rpt. findarticles.com. Accessed 4 Oct. 2008.
  21. ^ Albert Wertheim. The Dramatic Art of Athol Fugard: From South Africa to the World. Bloomington: Indiana UP, 2000. pp. 225. ISBN 9780253338235.  (Google Books limited preview.)
  22. ^ Brian Logan (2007-07-28). "Finally, It's Personal". The Times. http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/theatre/article2133250.ece. Retrieved 2008-10-01. "[Fugard's] plays helped to end apartheid, but it's Athol Fugard's own life that now inspires his work." 
  23. ^ Charles Spencer (2007-08-17). "Victory: The Fight's Gone Out of Fugard". The Telegraph. http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2007/08/17/nosplit/bt-victory-117.xml. Retrieved 2008-10-01.  [Theatre rev. of Victory at the Theatre Royal, Bath.]
  24. ^ a b c d e "Filmography" in Athol Fugard at Allmovie. Accessed 3 Oct. 2008.
  25. ^ Iain Fisher. "Athol Fugard: Plays" (Web). Athol Fugard: Statements. iainfisher.com. http://www.iainfisher.com/fugard/athol-fugard-play.html. Retrieved 2008-10-01. "Some of his plays are grouped together. Sometimes this is based on the subject matter (the Port Elizabeth plays), sometimes it is based on a period and style (the Statement Plays). ... But no category is complete, and there is overlap (The Township and The Statement Plays) and some plays do not easily fit into any categories." 
  26. ^ Fisher observes in the Fugard "Biography" section of Athol Fugard: Statements that South African writer and critic Stephen Gray classifies many of Fugard's dramatic works according to chronological periods of composition and similarities of style: "Apprenticeship" ([1956–]1957); "Social Realism" (1958–1961); "Chamber Theatre" (1961–1970); "Improvised Theatre" (1966–1973); and "Poetic Symbolism" (1975[–1990]).
  27. ^ Stephen Gray, ed. and introd. File on Fugard. London: Methuen Drama, 1991. ISBN 978-0413645807. 
  28. ^ Athol Fugard; Stephen Gray, ed. and introd. My Children! My Africa! and Selected Shorter Plays. Johannesburg: Witwatersrand UP, 1990. ISBN 1868141179. 
  29. ^ Master Harold...and the Boys at Allmovie. Accessed 3 Oct. 2008.
  30. ^ The Guest at Steenkampskraal at Allmovie. Accessed 4 Oct. 2008.
  31. ^ Meetings with Remarkable Men at Allmovie. Accessed 3 Oct. 2008.
  32. ^ A list of Fugard's Broadway theatre award nominations may be found at the IBDB. "Athol Fugard: Awards". Internet Broadway Database. http://www.ibdb.com/awardperson.asp?id=4353. Retrieved 2008-10-01. 
  33. ^ a b c d "Athol Fugard Athol Fugard: Award Nominations; Award(s) Won". The Internet Off-Broadway Database. http://www.lortel.org/LLA_archive/index.cfm?search_by=people&keyword=name&first=Athol&last=Fugard&middle= Athol Fugard. Retrieved 2008-10-02. 
  34. ^ "Lucille Lortel Awards Archive: 1986–2000". Lortel Archives. http://www.lortel.org/LLF_awards/index.cfm?page=previous1986-2000. Retrieved 2008-10-02. 
  35. ^ "The Audie Awards: 1999" (Web). Writers Write, Inc.. http://www.writerswrite.com/books/awards/audie.htm. Retrieved 2008-10-02. 
  36. ^ "Yale University: Honorary Degree Honorands: 1977–2000" (PDF). Yale University. http://www.yale.edu/oir/book_numbers_updated/A6%20_Honorary_Degree_Honorands.pdf. Retrieved 2008-10-04. 
  37. ^ "Honorary Degree Recipients: 1948–2001". Wittenberg University. https://www.wittenberg.edu/cabinet/honorary.html. Retrieved 2008-10-04. 
  38. ^ "Honorary Graduates: 1920s to 2000s" (Web). University of the Witwatersrand. http://web.wits.ac.za/Alumni/Awards/HonoraryDegs.htm. Retrieved 2008-10-04. 
  39. ^ Brown University News Bureau (Sweeney) (1995-05-24). "News release 94-185" (Web). Press release. http://www.brown.edu/Administration/News_Bureau/Databases/Release_Index_Search.php?Date_Day=01&Date_Month=07&Date_Year=1993&author=any&maxRecords=50&subject=honorary. Retrieved 2008-10-04. 
  40. ^ "Honorary Degrees Awarded by Princeton University: 1940s to 2000s" (Web). Princeton University. http://www.princeton.edu/pr/facts/honorary/. Retrieved 2008-10-04. 

References

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