- Library Binding: 336 pages
- Publisher: Indiana University Press (1 Nov 2000)
- Language English
- ISBN-10: 0253338239
- ISBN-13: 978-0253338235
- Product Dimensions: 2.4 x 1.7 x 0.3 cm
- Amazon Bestsellers Rank: 4,746,142 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
Wertheim (Indiana Univ.) identifies South African playwright Athol Fugard as arguably the most distinguished living English--language playwright. Some of Fugard's best--known plays include The Blood Knot, Sizwe Bans Is Dead, A Lesson from Aloes, and Master Harold.. and the Boys, and Wertheim notes in his introduction that he has seen performances of almost all of Fugard's canon (the exceptions: No--Good Friday, Nongogo, and Dimetos). The subject of Fugard's plays is often the human toll [that] racism leaves in its wake, wherever it is practiced. According to Wertheim, one of the larger, existential truths of Fugard's plays is the capacity of humankind not only to endure but to transcend its tragic fate; Fugard's parabolic style enables him to provide a general insight open to many applications. Wertheim's study has two particular strengths (among many): its insight into the evolution of the playwright, especially the influence of Albert Camus, Bertolt Brecht, and Samuel Beckett on Fugard's canon, and its illumination of the symbolic props in the plays, e.g., the shoes and stockings in People Are Living There. An authoritative work superbly written, this book is well suited to upper--division undergraduates and above.T. L. Jackson, St./P>--T. L. Jackson, St. Cloud State University"Choice" (01/01/2001)
Product Description
Considered one of the most brilliant, powerful, and theatrically astute of modern dramatists, South African playwright Athol Fugard is best known for "The Blood Knot", "Boesman and Lena", "Master Harold" ...and "The Boys", "A Lesson from Aloes", "Hello and Goodbye", "Sizwe Bansi Is Dead", "The Island", and "Valley Song". Much of the energy and poignancy of Fugard's work have their origins in the institutionalised racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. In "From South Africa to the World: The Plays of Athol Fugard", Albert Wertheim analyses 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.Professor Wertheim traces the growth of Athol Fugard as a playwright from his early attempts to write meaningful scripts for bi-racial cast in "No-Good Friday" and "The Blood Knot" to acting exercises that evolved into politically searing plays, "Sizwe Bansi Is Dead" and "The Island". He analyses Fugard's interrogation of how racism tragically scars both its victims and victimisers in "A Lesson from Aloes", "Master Harold", and "My Children! My Africa!"; and discusses the dramatic truths and hopes for reconciliation evident in the new sites and optimism reflected in "Playland", "My Life", "Valley Song", and "The Captain's Tiger", which Fugard wrote during and after the demise of apartheid.Exploring the ideas and dramaturgy of Fugard's work, this study makes clear how Fugard uses the era of apartheid and its aftermath to reach audiences not merely in South Africa but also those far removed from the particularities of South African problems. "From South Africa to the World" provides readers with an in-depth understanding of Athol Fugard's plays that explores the ways his theatre enables 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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First Sentence
One of the high points of New York's Museum of Modern Art's 1992 retrospective exhibition of the works of Henri Matisse was the attention devoted to his earliest works. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
One of the high points of New York's Museum of Modern Art's 1992 retrospective exhibition of the works of Henri Matisse was the attention devoted to his earliest works. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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