The Dramatic Art of Athol Fugard: From South Africa to the World

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Indiana University Press, 2000 - Drama - 273 pages

"Albert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written... This book is aimed not only at teachers, students, scholars, and performers of Fugard but also at the person who simply loves going to see a Fugard play at the theatre." --Nancy Topping Bazin, Eminent Scholar and Professor Emerita, Old Dominion University

Athol Fugard is considered one of the most brilliant, powerful, and theatrically astute of modern dramatists. The energy and poignancy of his work have their origins in the institutionalized racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. Albert Wertheim analyzes the form and content of Fugard's dramas, showing that they are more than a dramatic chronicle of South African life and racial problems. Beginning with the specifics of his homeland, Fugard's plays reach out to engage more far-reaching issues of human relationships, race and racism, and the power of art to evoke change. The Dramatic Art of Athol Fugard demonstrates how Fugard's plays enable us to see that what is performed on stage can also be performed in society and in our lives; how, inverting Shakespeare, Athol Fugard makes his stage the world.

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The dramatic art of Athol Fugard: from South Africa to the world

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Wertheim (English, theater, and drama, Indiana Univ.) masterfully provides a scholarly analysis of Athol Fugard's plays to date. Fugard, best known for Master Harold and the Boys, is one of South ... Read full review


Early Work and Early Themes
The Port Elizabeth Plays The Voice with Which We Speak from the Heart
THREE Acting against Apartheid
Fugards First Problem Play
The Drama as Teaching and Learning Trauerspiel Tragedy Hope and Race
The Other Problem Plays
Writing to Right Scripting Apartheids Demise
Where Do We Where Do I Go from Here? Performing a New South Africa

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About the author (2000)

Albert Wertheim is Professor of English and of Theatre and Drama at Indiana University. He has published widely on modern and classic British and American drama and on post-colonial writing; directed several NEH seminars on politics in the theatre and on new literatures from Africa, the West Indies, and the Pacific; and served on the editorial boards of American Drama, Theatre Survey, South African Theatre Journal, and Westerly.

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