A LESSON FROM FUGARD FREE

This newВ staging marks the 25th anniversary year of the first free and democratic elections in South Africa in 1994. Time to get booking!ДЄ Lesson From Aloeshas not beenВ seen in London in nearly 40 years since its UK premiere at the National Theatre in 1980. An appendix lists essential authors published before 1945.Why do we go to the theatre? Why isnвЂ™t South African master Athol Fugard seen more often here? How do you get an actor who can do a convincing Afrikaaner accent? We caught up with multi-award-winning actor turned director Janet Suzman about A Lesson From Aloes, revived for the first time in London next week at the Finborough Theatre. Alphabetical entries provide accurate and objective information on genres and writers. An introduction identifies the most interesting and noteworthy writing from the period. This book offers a narrative overview of South African literary production in English from 1945 to the postapartheid present. Although the South African Constitution of 1994 recognizes no fewer than eleven official languages, English has remained the country's literary lingua franca. An invaluable guide for general readers as well as scholars of African literary history, this comprehensive text celebrates the multiple traditions and exciting future of the South African voice. South African writers have responded in various ways to Njabulo Ndebele's call to 'rediscover the ordinary.' The result has been a kaleidoscope of texts in which evolving cultural forms and modes of identity are rearticulated and explored. Since the release from prison of Nelson Mandela in 1990, South Africa has been a new nation-in-the-making, inspired by a nonracial idealism yet beset by poverty and violence. Because apartheid intruded on every aspect of private and public life, South African literature was preoccupied with the politics of race and social engineering. From 1948 until 1994, this division was formalized in the National Party's policy of apartheid. 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.ДЇrom the outset, South Africa's history has been marked by division and conflict along racial and ethnic lines. 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. In The Dramatic Art of Athol Fugard, 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. The energy and poignancy of Fugard's 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. and the boys, A Lesson from Aloes, and Sizwe Bansi Is Dead. Nancy Topping Bazin, Eminent Scholar and Professor Emeritus, Old Dominion University 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, MASTER HAROLD. 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. He also illuminates his interpretations with the help of Fugard's manuscripts, previously available only in South Africa. Thus, he places Fugard's works not so much in a South African context as in a theatrical context. He also conveys well what Fugard has learned from other plays and dramatists. It was a pleasure to read! Wertheim succeeds in communicating the greatness of Fugard as a playwright, actor, and director. Albert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written-a book that held my attention from beginning to end.

A lesson from fugard