This article addresses the creation of Athol Fugard’s plays not as performances or as texts, but as material objects, and examines how the meaning and value of his plays were constructed through the interventions of his publisher. The paper draws attention to the sharp distinction in the way that Fugard’s performances and published plays have been received, most acutely with respect to the plays Sizwe Bansi is Dead, The Island and Statements After an Arrest Under the Immorality Act. These plays directly addressed and attacked apartheid legislation and enforcement. In performance in South Africa between 1972–1973 they were regarded as radical and subversive by the South African authorities as well as by audiences and critics.
The Oxford University Press edition of this trilogy, Statements: Three Plays (1974), was by contrast packaged as a literary and commercial product that circulated free from censorship. This essay explores the reasons for this dichotomy through a detailed author/publisher case study of the publication history of the plays. It analyses the means by which Fugard was re-branded as an “Oxford author” through the book’s publication in the Oxford Paperback Series, and assesses the impact of this brand on the reception of Fugard’s plays. The published book was also a more individualistic creative product than the performances of the plays: the Press applied a conventional model of authorship which served to defuse the radical, interracial partnership between Fugard and his co-writers Winston Ntshona and John Kani. Likewise, the political content was neutralized as the plays were promoted as allegorical literary works of universal significance.
By these means, it is argued, Fugard was successfully incorporated into the literary establishment in the UK, the USA and South Africa under apartheid. Amuta, C ( 1989) The Theory of African Literature: Implications for Practical Criticism.
London: Zed Books. ( 16 January 1978) Letter. Fugard: Statements, Archives of the Oxford University Press (AOUP). Bourdieu, P ( 1993a) The field of cultural production, or: The economic world reversed.
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London: Routledge, 74– 111. Bourdieu, P ( 1993c) The market of symbolic goods. In: Johnson, R (ed) The Field of Cultural Production.
London: Routledge, 112– 144. Brain, R ( 20 April 1972) Letter to Fugard A. Fugard: Hello and Goodbye, OP2005/15116. Brain, R ( 9 May 1972) Letter to Fugard A. Fugard: Hello and Goodbye, OP2005/15116. Brain, R ( 16 August 1973) Letter to Fugard A. Fugard: Boesman and Lena, OP2007/15136.
Brain, R ( 6 February 1974) Letter to Benson M. Fugard: Statements. Brain, R ( 3 March 1974) Letter to Buckroyd C. Fugard: Statements. Brink, A ( 1993) “No way out”: Sizwe Bansi is Dead and the dilemma of political drama in South Africa. Twentieth Century Literature 39(4): 438– 454., Buckroyd, C ( 13 May 1974) Letter to Sheil A. Fugard: Statements.
Buckroyd, C ( 14 May 1974) Letter to Fugard A. Fugard: Statements.
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Buckroyd, C ( 5 July 1974) Letter to Benson M. Fugard: Statements. Daily Telegraph ( 13 October 1976) 97.15.4.1. National English Literary Museum (NELM). Davis, C ( 2005) The politics of postcolonial publishing: Oxford University Press’s Three Crowns series 1962–1976. Book History 8, 228– 242., Davis, C ( 2010) Histories of publishing under apartheid: Oxford University Press in southern Africa.
Journal of Southern African Studies 37(1): 79– 98., Foreign Policy Study Foundation ( 1981) South Africa: Time Running Out, A Report on the Study Commission on the US Policy towards Southern Africa. Berkeley: University of California Press. Fugard, A ( 1966) Hello and Goodbye. Cape Town: Balkema.
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New York: Oxford University Press. Fugard, A ( 1978) Boesman and Lena and Other Plays. Oxford: Oxford University Press. Fugard, A ( 1981) A Lesson from Aloes: A Play. Oxford: Oxford University Press. Fugard, A ( 1983) ‘Master Harold’ - and the Boys.
Oxford: Oxford University Press. Fugard, A ( 1984) Notebooks, 1960–1977 (ed, Benson, M). New York: Alfred A. Fugard, A ( 19 February 1974) Letter to Heapy R. Fugard: Statements. Fugard, A ( 12 March 1974) Letter to Buckroyd C. Fugard: Statements.
Fugard, A, Kani, J, Ntshona, W ( 1976) Sizwe Bansi is Dead & The Island. New York: Viking.
Gardiner, J ( 2000) Recuperating the author: Consuming fictions of the 1990s. Papers of the Bibliographical Society of America 94(2): 255– 274., Garuba, H ( 2001) The island writes back: Discourse/power and marginality in Wole Soyinka’s The Swamp Dwellers, Derek Walcott’s The Sea at Dauphin, and Athol Fugard’s The Island. Research in African Literatures 32(4): 61– 76., Genette, G ( 1997) Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press., Gracie, N ( 19 February 1974) Letter to Buckroyd C. Fugard: Statements. Gracie, N ( 3 August 1977) Letter to Sisman A. Fugard: Statements.
Gray, S ( 1982) (ed) Athol Fugard. Johannesburg: McGraw Hill. Heapy, R ( 9 March 1973) Letter to Fugard A. Fugard: Boesman and Lena, OP2007/15136. Heapy, R ( 29 August 1973) Letter to EAK Ely House. Fugard: Boesman and Lena, OP2007/15136.
Heapy, R ( 27 February 1974) Letter to Fugard A. Fugard: Statements. Hench, JB ( 2010) Books as Weapons: Propaganda, Publishing and the Battle for Global Markets in the Era of World War II. New York: Cornell University Press. Kani, J, Ntshona, W ( 2 November 1976) Letter to the Royal Court Theatre. Merrett, C ( 1995) A Culture of Censorship: Secrecy and Intellectual Repression in South Africa.
Cape Town: David Philip. New publishing proposal ( March 1974) Fugard: Statements. Royal Court Theatre ( 1973) A South African Season. Sales Figures for Statements. Fugard: Statements. Seymour, H ( 1980) “Sizwe Bansi is Dead”: A study of artistic ambivalence. Race and Class 21(3): 273– 289., Sheil, A ( 29 April 1974) Letter to Brain R.
Fugard: Statements. Sheil, A ( 8 May 1974) Letter to Buckroyd C. Fugard: Statements. Swett, R ( 18 January 1978) Letter to Linnet, CC. Soyinka: Four Plays, 015019. October 1976) 97.15.1.1–97.15.5.5.
Vandenbroucke, R ( 1985) Truths the Hand Can Touch. New York: Theatre Communications Group.
Van der Vyver, J ( 1983) General aspects of the South African censorship laws. In: Coggin, T (ed) Censorship: A Study of Censorship in South Africa. Johannesburg: South Africa Institute of Race Relations. Walder, D ( 1984) Athol Fugard by Stephen Gray. Research in African Literatures 15(3): 461– 464. Walder, D ( 1993a) Crossing boundaries: The genesis of the township plays.
Twentieth Century Literature: A Scholarly and Critical Journal 39(4): 409– 422., Walder, D ( 1993b) Township Plays. Oxford: Oxford University Press. Walder, D ( 2003) Athol Fugard.
Tavistock: Northcote House Publishers Ltd. Wertheim, A ( 2000) The Dramatic Art of Athol Fugard. Bloomington: Indiana University Press. Wilhelm, P ( 1982) Athol Fugard at forty (interview). To the Point. In: Gray, S (ed) Athol Fugard. Johannesburg: McGraw-Hill, 114.
Download EBOOK Tsotsi PDF for free Category: The author of the book: Format files: PDF, EPUB, TXT, DOCX The size of the: 120 KB Language: English ISBN-13: 312 Edition: Canongate Books Ltd Date of issue: 5 February 2009 Description of the book 'Tsotsi': Tsotsi is an angry young gang leader in the South African township of Sophiatown. A man without a past, he exists only to kill and steal. But one night, in a moonlit grove of bluegum trees, a woman he attempts to rape forces a shoebox into his arms. The box contains a baby, and his life is inexorably changed. He begins to remember his childhood, to rediscover himself and his capacity for love. Turned into an Oscar-winning movie in 2006, Tsotsi's raw power and rare humanity show how decency and compassion can survive against the odds. Reviews of the Tsotsi Until now concerning the guide we've got Tsotsi opinions people have not nevertheless remaining their article on the game, or otherwise not see clearly however.
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The Island is indeed an actor's play, for acting is its central metaphor and idea: acting as a means for the acting out of one's life, acting as a form of survival, and acting as a basis for (political) action. In The Island, two black prisoners, John and Winston, are men whose political stands against the state have caused them to be incarcerated, sentenced without determinable end in Robben Island prison. They are dressed in shorts 'to look like the boys their keepers would make them.'
But clearly the authorities wish them to be far, far less than boys, for the prisoners are treated with extreme brutality and are given the sorts of tasks meant to reduce them from men to beasts, to annihilate the last shreds of their humanity. Finally, after the men are beaten and returned wounded to their cell, the dumb show gives way first to inchoate sounds and then to words of rage and pain. Winston's pain causes John to act, to urinate and use his urine as an antiseptic to wash Winston's wounded eye. As the two men thus act to assuage each other's bodily injuries, Winston exclaims, 'Nyana we Sizwe' ('brother of the land'), affirming the power of brotherhood and the indomitability of the two men's human spirit. The Island shows the backfiring of a system that wishes to rob John and Winston of their humanity by reducing them to beasts. Their white guard is unseen. Omg krishna flute ringtone download free.
Only his irritating noises and the sting of his blows are heard and he is reduced by Fugard to a character in a mean-spirited beast fable.39 John and Winston remain triumphantly human. Hodoshe exemplifies the prison guards whose humanity devolves into animal behavior, whereas the prisoners, Winston and John, create their humanity out of the very bestiality that has been forced on them. Their guards hail down beatings and wounds upon them; their human fastidiousness had been consciously taken from them when they were transported from Port Elizabeth to Cape Town and Robben Island (a journey of 770 kilometers, almost 480 miles) by vans, in which they were crammed and shackled to each other like animals, unable to refrain from urinating on one another as they traveled. And yet it is their care for one another's wounds that brings forth and. 759 Words 4 Pages cannot see reality as it truly is from their eyes. In Athol Fugard’s Master Harold and the Boys, he shows the apartheid between blacks and whites in South Africa. While some of these white people wanted to end apartheid, other people who lived with apartheid for their whole lives do not see the wrongs with it.
These people want change, but do not know that they are the issue which is known as a psychological barrier. In the play, Athol Fugard uses Willie who struggles with a psychological barrier. 589 Words 2 Pages performers undergo a change from ordinary performers into a community of participants. To ensure that the drama reflects a real ritual, characters must abandon their normalcies and assume different roles. In “Master Harold” and the boys and Endgame by Athol Fugard and Samuel Beckett, respectively, relationships are developed for mutual gain; they promote personal welfare, satisfaction, and gain.
The ritualistic method by which the characters converse reveals the absurdity and necessity of relationships. 863 Words 3 Pages Historical, Social and Political condition Athol Fugard was born into the era of apartheid. The Fugard family was known as a very poor white family which affected the way he wrote his plays. Apartheid was known as a time in South Africa when whites were separated from the non-whites. White people were known as the “top dogs” and the non-whites were classified as the “under dogs” in the Republic of South Africa.
Fugard was against apartheid due to the way he was living at the time. His father worked. 1838 Words 8 Pages The novel Tsotsi, by Athol Fugard, is a story of redemption and reconciliation, facing the past, and confronts the core elements of human nature. The character going through this journey, who the novel is named after, is a young man who is part of the lowest level of society in a poor shanty town in South Africa.
Tsotsi is a thug, someone who kills for money and suffers no remorse. But he starts changing when circumstance finds him in possession of a baby, which acts as a catalyst in his life. 1999 Words 8 Pages Imperialism is the forceful extension of a nation 's authority by territorial conquest or by establishing economic and political domination of other nations that are not its colonies. In various forms, imperialism may be as old as humanity. In the prehistorical world (before written history began), clan groups extended their territory and dominated others, competing against them for food and resources.
Negatively, many cultures have suffered due to imperial domination since the dominant have. 2088 Words 9 Pages The Island (1973) Athol Fugard A Quick Rundown of The Island - The Island is a Fugard play that resorts to the Classics to protest Apartheid. It takes place in four scenes, opening with a lengthy mimed sequence in which John and Winston, two cell mates in prison on Robben Island, carry out one of the totally pointless and exhausting tasks designed by warders to break the spirit of political prisoners. Winston has been sentenced to prison for life because he burned his passbook in front.
1729 Words 7 Pages The Effects of Racism on Hally in Master Harold and the Boys by Athol Fugard In the play Master Harold and the Boys, Hally demonstrates, through repeated acts and expressions, the sentiment of the entire African society at the time the play takes place. In 1950, the policy of apartheid was beginning to be practiced in South Africa. The Population Registration Act was passed, which divided the population into four racial groups (Post 112). The Group Area Act of 1950 controlled ownership. 1109 Words 5 Pages The novel, “Tsotsi”, by Athol Fugard shows how characters struggle and change to fit in with individuals they have chosen to surround themselves with. This can be seen through multiple scenarios, which unfold throughout the book. These scenarios are expressed through the use of many literary devices that help explain the message.
These devices include but are not limited to imagery, motif, and similes. One way in which the message is shown, is through the use of imagery. Athol uses imagery to show. 618 Words 3 Pages Analysis of Athol Fugard's Master Harold.
And the Boys 'It's a bloody awful world when you come to think of it. People can be real bastards.' 15)'Master Harold'. And the boys by Athol Fugard, is an informative text about the relationship between Hally, a 17 year old white boy, and Sam and Willie, two black men. As Hally falls victim to the attitudes of white supremacy and racial intolerances accompanying the Apartheid policy of the 1950's, their lifelong friendship is destroyed.
The Island (1973) Athol Fugard A Quick Rundown of The Island - The Island is a Fugard play that resorts to the Classics to protest Apartheid. It takes place in four scenes, opening with a lengthy mimed sequence in which John and Winston, two cell mates in prison on Robben Island, carry out one of the totally pointless and exhausting tasks designed by warders to break the spirit of political prisoners. Winston has been sentenced to prison for life because he burned his passbook in front of a police station. John has been imprisoned for belonging to a banned organization. The story traces the relationship of these two men. Winston is the active rebel, - and John, the intellectual, is trying to persuade him to play Antigone in a condensed - two-character version of Sophocles’ play.
It is to be a prison “concert” for their fellow prisoners and the guards. However, Winston rebels at playing Antigone. He doesn’t want the other prisoners to laugh at him for being dressed as a woman, wearing a mop for a wig, false “titties,” and a necklace made of salvaged nails.
He protests, “I’m a man, not a bloody woman. Shit man, you want me to go out there tomorrow night and make a bloody fool of myself?” (p. John finally convinces him to cooperate by putting the dress on himself and saying, “ behind all this rubbish is me, and you know it’s me. You think those bastards out there won’t know it’s you? Yes, they’ll laugh. But who cares about that as long as they laugh in the beginning and listen at the end.
That’s all we want them to do listen at the end!” (p. Then John is taken to the office of the head warden and told that his appeal against his sentence has been granted.
His ten-year term has been reduced to three years. In three months, he will be free. But Winston is now facing a bleak future without the friend whose imagination has helped to keep him sane. In the final scene, as the two present their version of Antigone, - Antigone/Winston tells the legendary king of Thebes, Creon, and the audience: - “You are only a man, Creon.
Even as there are laws made by men, so too there are others that come from God. He watches my soul for a transgression even as your spies hide in the bush at night to see who is transgressing your laws. Guilty against God I will not be for any man on this earth.But if I had let my mother’s son, a Son of the Land, lie there as food for the carrion fly, Hodoshe, my soul would never have known peace.” (p. 226) - “A Son of the Land” (Nyana wa Sizwe) is Winston’s battle cry that articulates his identity. At the end of the “concert,” John and Winston then take off their costumes - and “strike” the set.
They are again put in handcuffs and ankle chains and begin running in tandem as the siren wails. Introduction - New genre: drama - Play about political statements - Two-person play - Greater interaction between audience and actor - Takes places over six days - Slice of life” theatre 2. Sociopolitical Context - part of three plays called statement plays (against Apartheid legislation): 1.
Sizwe Bansi Is Dead (political response, young man forced to break the law to survive) 2. The Island (direct response to banning of ANC and other opposition voices) 3. Statement After An Arrest Under The Immorality Act (against Immorality Act banning of relationships across racial boundaries - 1950s: dynamic creativity, art, drama, poetry, etc. Also political activism of overt nature. People burnt their passes. Women marched on parliament. In Johannesburg: in Sophiatown, mixed race ghettoes associated with a group of writers, the “drum generation” - 1960s: “Decade of Silence.” Politics and Sophiatown change drastically.
Capture of Mandela and other political activists. Banning of ANC and PAC. Vision of “white areas” and a “white Johannesburg” Sophiatown virtually destroyed, turned into white suburb “Triomf.” Political opposition only underground. Imperialism is the forceful extension of a nation's authority by territorial conquest or by establishing economic and political domination of other nations that are not its colonies. In various forms, imperialism may be as old as humanity. In the prehistorical world (before written history began), clan groups extended their territory and dominated others, competing against them for food and resources.
Negatively, many cultures have suffered due to imperial domination since the dominant have often regarded themselves as superior and have neglected, or even deliberately destroyed, indigenous cultures. Yet, an interesting aspect of imperialism is that empires, both ancient and modern, have also tended to regard themselves as spreading order, morality, the true religion and civilization, and have even claimed to occupy the high moral ground. Imperial projects ranging from that of Alexander the Great, through the Roman Empire, to the British and Napoleonic empires saw themselves as instruments for good in the world, even though their expansion was usually violent. Imperialism is often linked with totalitarian enterprises, since the colonized rarely had much say in their governance However, democracies have also engaged in imperial acts. The United States regards the defense of democracy and of freedom as fundamental to its identity and mission in the world, yet it has also engaged in imperial pursuits. As a matter of fact, Empires have established peace and stability.English 378 Athol Fugard Elective Kobus Badenhorst 16550471Prof. De Kock 5/11/2013 Relevance of gender in Athol Fugard’s plays Athol Fugard’s plays focussed primarily on the after effects of dramatic events such as apartheid, the border war and South Africa’s poverty.
All though these themes such as poverty, guilt and internal struggle of characters are easily recognized in Fugard’s plays, the relevance of gender is never directly confronted as an issue of discussion. After reading most of Fugard’s plays, the reader will notice that Fugard indirectly describes the struggle of the female gender during dramatic events in his plays. Firstly the play, The Island, will be discussed.
This play was written by Fugard in 1972 and first performs on 2 July 1973 at The Space in Cape Town. It is a play performed by two characters and is thus easy for the audience to not lose focus on the characters. Both Winston and John try to cope with the situation of being imprisoned at Roben Island. Both of them seem to handle it well, by trying to keep themselves busy and to see the positive out of the situation, but unfortunately Winston can not keep himself from expressing his sexual frustration in scene 3. Not only does Winston degrade the female gender by his comments on them when Winston finds out that John’s sentence is reduced, but Winston also.
Athol Fugard Biography 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.In 'Road to Mecca' by Athol Fugard there are two main charactors whose relationship is a strange one but both have a common goal of liberation and both want to break away from society's norms.
They both feel they don't fit into society and seem to have each for comfort despite their long distances away. Miss Helen outcasts herself from Afrikaner society as she stops going the customary Sunday church service. She makes her own so called idols or sculptures to make her life feel like it is worth anything. She calls it her Mecca but society calls it idolism and defies the traditional culture and the town turns their back on her and even goes to the extend to damage her art pieces. We then have Elsie who feels she doesn't fit in with society in Cape Town. She is very much against the segregation that is taking part at that time. She is, already by the time of the book, being asked to appear to explain her 'irrational' acts.
She also had a affair with a married man and she also aborted a baby which at that time was also very unheard of. They find each other in there liberation struggle out of traditional society.
Elsie has helped Miss Helen through the last few years and has helped her find meaning to life. They often exchanged letters and as soon as Elsie stopped sending letters, Miss Helen soon started getting very depressed and suicidal. This proves that the relationship for Helen was very strong.
It was the last thing she was hanging on to.Award winning playwright, Athol Fugard sources many of his dramas in his hometown Port Elizabeth. Conflict dominated the land of South Africa in the dark years when the National Party was in power.
Bellies believe that a large proportion of Fugard’s writing is motivated by the anguish of apartheid South Africa and the political context in which they are written, yet nonetheless contain universal messages that extend their relevance beyond the politics of their generation. This belief exposes many intricate details regarding the works of Fugard yet captivates the purpose of his plays. Fugard writes his plays in a time of political uncertainty in South Africa and presents many problems which he believes are fundamentally detrimental to the State of the nation. Apartheid being much publicized around the world makes South Africa a pariah state. The laws that are being imposed upon South Africans of colour make for torrid living in the country, such as poverty, homelessness and superiority under National Party rule. Fugard depicts this in many of his plays namely Master Harold and the Boys and Boesman and Lena. The playwright does this by using key metaphors and central motifs throughout.
In Boesman and Lena, Fugard explores the magnitudes that Apartheid poses both on a personal basis and its psychological effects. Fugard emphasizes isolation and loss of identity as a result.Treasure Island Treasure Island is an amazing adventure, one that everyone dreams of since childhood, is the quest for a secret treasure in a distant island. A brave boy, among good and bad pirates, within the exotic setting of a mysterious island, is the protagonist of one of the most famous stories for the young. This story isn't as simple as many other childrens books. That could relate to the fact that it is a more enjoyable story for the preteens than the nursuryaged children. Jim Hawkins runs into a lot of trouble and dilemmas. This is of course necessary for a pirates story.
If none of all this happened, it would simply be too boring. Jim is on a long journey.
This kind of tale makes it almost impossible to lose interest because something happens all the time. It would simply just be a bad story if he Stevenson wrote like this: ”They walked up the hill. Then they walked some more. They found a treasure. The end.” It is the whole journey that contains the action. As written earlier, Treasure Island is more for the older children.
The fact that there are many adults in it describes it well. Jim is both the narrator and the central character of the story, which means that we follow his personal view of events from his encounter with Billy Bones at the Admiral Benbow Inn to his departure from Treasure Island on the Hispaniola (Which is the ship). The only exception.tattered black bed sheet above. I was useless; I was nowhere.
My mother and father gallivanted through the ships ballrooms with 50 of, what I’m sure by then were, their closest friends; the levels of intoxication growing with every mention of the struggles of parenthood. I was the bastard child of a writer and a lawyer who were better off without me, alone on a cruise ship traveling farther and farther away from what never was my home, and I was plotting my escape. It was nearing midnight when, to the starboard side, out of the corner of my eye, I saw her sitting; waiting for me so auspiciously as if she were just then born into existence, only to meet my weary peripheral. I had made the decision to jump seconds before I had even seen the island.
If by some happenstance, had I chosen to bear the brunt of a dinner with my parents; had I retired for the night; had I turned to port in search for the North Star, I might have missed her. Could there ever really be Providence, with no one to direct its course? “Know that something softer than us, but just as holy, planted pieces of Himself in our feet so that we might one day find our way back to Him.” What if “god” provides us with chances daily, but only the artless see them? It was time to find out.
I didn’t spend much time preparing. The essentials were a given; any spare space would hold the vices.
My pack was full of only 6 items: a tarp, windbreaker pants, a fire ax, a pot, my clarinet, and a. Name of student: Chris Poore Date: November 3, 2008 Film Title: The Island Year: 2005 Author/Screenwriter: Caspian Tredwell-Owen; Alex Kurtzman; Robert Orci Producer: Michael Bay; Ian Bryce; Walter F. Parkes Director: Michael Bay Production Company(ies): DreamWorks SKG; Warner Bros.
Pictures; Parkes/Macdonald Productions Distribution Company(ies): DreamWorks Distribution; DreamWorks Home Entertainment; Warner Bros.; Fox-Warner # of U.S. Screens opening week: 3122 # of U.S. Screens maximum: 3138 # of weeks in U.S. Theaters: 7 Film Budget: $126 Million U.S. Box office gross: $35,818,913 Foreign box office gross: $160,285,073 Awards & Nominations: Nominated for 3 Movies (Saturn Award; Golden Reel Award; Teen Choice Award) Film Review #1 (provide complete bibliographic cite): Ebert, Robert.
“The Island.” Chicago Sun-Times 22 July 2005. Film Review #2 (provide complete bibliographic cite): Chang, Justin. “The Island.” Variety 11 July 2005.
Academy-Award winner Athol Fugard, one of theatre's most acclaimed playwrights, finds humor and heartbreak in the friendship of Harold, a 17-year old white boy in 1950's South Africa, and the two middle aged black servants who raised him. Racism unexpectedly shatters Harold's childhood and friendships in this absorbing, affecting coming of age play. The play, initially banned from production in South Africa, is a Drama Desk Award winner for Outstanding New Play. Theatre Works full-cast performance featuring Leon Addison Brown, Keith David and Bobby Steggert. Featuring: Leon Addison Brown, Keith David, Bobby Steggert. Set in a South African traveling amusement park on New Year’s Eve, Athol Fugard’s “Playland” explores the possibilities for blacks and whites to find understanding in a racially divided world.
A volatile dialogue begins when two men - a former soldier and a night watchman - delve into their sordid pasts. A Steppenwolf Theatre Company production. Theatre Works full-cast recording starring Lou Ferguson, Francis Guinan, and Paul Sandberg. Directed by Nan Withers-Wilson.
Recorded before a live audience by L.A. Theatre Works. Featuring: Lou Ferguson, Francis Guinan, Paul Sandberg. When her husband dies, aging Miss Helen begins to fill her home in the remote South African bush with strange sculptures made from beer cans and old headlights. A local clergyman and a young woman visitor try to decide whether Miss Helens peculiar art is an outpouring of creativity or an outbreak of madness. An incandescent drama by South Africa’s most celebrated playwright.
Theatre Works full-cast performance featuring Julie Harris, Amy Irving and Harris Yulin. Featuring: Julie Harris, Amy Irving, Harris Yulin.
Athol Fugard (b. 1932) is South Africa’s foremost playwright.
The product of an Afrikaner mother and Anglo-Irish father, Fugard has always been especially conscious of his mixed linguistic heritage; his plays, written in a demotic form of South African English, naturally incorporate many regional dialects and slang derived from various vernacular registers. Following university, his real education began when – like Eugene O’Neill – he knocked about the world as a seaman for several years.
As clerk to a Native Commissioner’s Court in Johannesburg in 1958, he saw at first hand the daily regimen of apartheid. Becoming a stage manager with the National Theatre Organization (Kamertoneel) in 1959, Fugard worked, part-time, as actor and director, while writing his earliest plays about life in Sophiatown, then Johannesburg’s black ghetto.
No-Good Friday (1958) and Nongogo (1959) are immature but realistic studies of slum deprivation and violence. It was not until Fugard returned to Port Elizabeth, where he had been brought up, that his playwriting began to take on a life of its own. The breakthrough was The Blood Knot, set in Port Elizabeth, but first staged in Johannesburg (1961). Though unwieldy and overwritten, it was the play South African theatre needed in the early 1960s.
The Island By Athol Fugard
The love-hate relationship of two brothers (one who could pass for a white man, the other very dark) mirrors much of the country’s anguished racial history. Establishing Fugard as a playwright, it set a pattern for his future dramas, using small casts and one simple set with minimal action but one or two powerful stage images and opportunities for acting out intense racial confrontations. Hello and Goodbye (1965) and Boesman and Lena (1969; filmed 1973) were written for the Serpent Players, an ensemble of black actors founded by Fugard in 1962. Like The Blood Knot, both embody tragic family situations. In 1967, influenced by the avant-garde director Jerzy Grotowski, Fugard and the Serpent Plays began to experiment with improvisational theatre.
Fugard provided basic images and situations and directed the process by which John Kani and Winston Ntshoni improvised the dialogue; the texture and force of Sizwe Bansi is Dead (1972) and The Island (1973) emerged from the inner experiences of the actors, who are credited as co-authors in the published texts. The absurdities and cruelties of South Africa’s pass laws and of political imprisonment on Robben Island are, respectively, the plays’ subject matter. Statements after an Arrest under the Immorality Act (1972) completes this workshop phase of Fugard’s development. Fugard has spoken of his next three plays as a trilogy, though not consciously planned as such. A Lesson from Aloes (1978), ‘Master Harold’.
And the Boys (1982), his most autobiographical play, and The Road to Mecca (1984) are more private and inward-looking, less obviously political and far more concerned with the white man’s social responsibilities and conscience than any of the earlier works. After the unconvincing A Place with the Pigs (Yale Repertory Theatre, 1987; London’s National Theatre, 1988) My Children! Directly confronted hatred and violence within the black community and answered criticism that this phase of his stage work had turned its back on immediate social and racial problems. In the 1990s Fugard produced three dissimilar dramas that recall earlier stages in his career while, at the same time, they show an awareness of his country’s post-apartheid dispensation. First produced in 1993 at the Market Theatre in Johannesburg, Playland is in some ways a companion piece to The Blood Knot.
Both are two-handers, where one character is black and the other is white (or appears to be white); but whereas The Blood Knot prophetically enacted apartheid’s evils, Playland depicts the difficulties of reconciliation in the regime’s aftermath. My Life, premiered to critical acclaim at the Grahamstown Arts Festival in 1994, has, unusually for Fugard, an all-female ensemble, with him arranging material but (unlike his practice in the earlier improvisational collaboration with two male actors) severely restricting his own authorial contribution. Valley Song (Johannesburg and Princeton, NJ, 1995) tenderly dramatizes the increasingly troubled relationship between a simple, inadvertently selfish old widower and his naive, fun-loving granddaughter, who wants to leave their desolate Karoo farm for the big city. Throughout a long career, Fugard’s most significant contribution to South African theatre has been his involvement at all levels with black theatre practitioners.
Summary Of The Island By Athol Fugard
The strength of his work lies in its enactment - often in racial role-playing - of apartheid situations seen from the victim’s point of view. First and foremost a man of the theatre, Fugard has also assayed other literary forms; he has published a novel, Tsotsi (1980), a volume of selections from his remarkable diary, published as Notebooks: 1960–1977 (1983), and Cousins: A Memoir (1997). From Ronald Ayling, The Continuum Companion to Twentieth Century Theatre, ed.
Athol Fugard Quotes
Colin Chambers (London, 2002).