The Dramatic Art of Athol Fugard: From South Africa to the World"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. |
From inside the book
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... father, Gerta and Gustav Wertheim. As refugees from World War II Germany, they arrived on American shores with very little, but managed to give me, their child born in free America, so very much. What they did can never be re- paid. My ...
... father, a sometime jazz pianist and a cripple, was of English- speaking, Anglo-Irish ancestry; his mother, an Afrikaner, was a descendant of a Voortrekker family. In 1935, the Fugards moved to Port Elizabeth, where Athol Fugard grew up ...
... Father Higgins, which Fugard had been playing. The members of the African Theatre Workshop seem to have been as much en- grossed in the theory of drama as in production itself. As Vandenbroucke, quoting from an interview with Mokae ...
... Father Higgins, the well-meaning white cleric acted by Fugard himself in No-Good Friday's initial production. But the priest's well-meaning innocence is treated ironically and satirized by an embittered Willie, the play's main character ...
... Father. H . Every garden has its weeds, even the white ones. W . Yes, I've seen them. I was walking down a street the other day with neat white houses on each side and a well-trained dog snarling at me behind every ...
Contents
1 | |
The Voice with Which We Speak from the Heart | 17 |
THREE Acting against Apartheid | 69 |
Fugards First Problem Play | 100 |
Trauerspiel Tragedy Hope and Race | 117 |
SIX The Other Problem Plays | 153 |
Scripting Apartheids Demise | 177 |
EIGHT Where Do We Where Do I Go from Here?Performing a New South Africa | 203 |
Notes | 239 |
Works Cited | 259 |
Index | 267 |
Other editions - View all
The Dramatic Art of Athol Fugard: From South Africa to the World Albert Wertheim Limited preview - 2000 |
The Dramatic Art of Athol Fugard: From South Africa to the World Albert Wertheim Limited preview - 2000 |