2020. 2. 11. 17:36ㆍ카테고리 없음
Very quick read, and equally enjoyable. I enjoyed Fugard's use of Antigone as an intertext, especially because, if I'm not mistaken, the prisoners on Robben Island actually did put on this play. Antigone's reminder that King Creon is just one individual-and a fallible one as well- forces the characters and the reader to remember that the National Party, and its Apartheid policies, are equally as human.
From Wikipedia, the free encyclopedia. Jump to navigation Jump to search. Poster for the 2000 Royal National Theatre production. The Island is a play written by Athol Fugard, John Kani, and Winston Ntshona. Create a book Download as PDF Printable version. — Athol Fugard, in Mary Benson’s introduction to Fugard’s Notebooks: 1960-1977 Athol Fugard. Africa, he and his wife moved to London to experi-ence theater free from racial segregation and discrimi-nation. While in London, Fugard penned The Blood Knot (1961). Upon returning to south africa later that year, Fugard found that The.
Creon, and his 20th century political descendents, views himself as metonymic with the state Very quick read, and equally enjoyable. I enjoyed Fugard's use of Antigone as an intertext, especially because, if I'm not mistaken, the prisoners on Robben Island actually did put on this play. Antigone's reminder that King Creon is just one individual-and a fallible one as well- forces the characters and the reader to remember that the National Party, and its Apartheid policies, are equally as human. Creon, and his 20th century political descendents, views himself as metonymic with the state- a human construction he hopes to put forward as divinely inspired. To remind the characters in the play, and the readers/audience, is to call everyone to action.
“The Island” by Athol Fugard is short but deeply moving. This short-story follows two prisoners, John and Winston, who have been imprisoned on Robben Island for unknown reasons. The two men are tasked with performing the ancient Greek tragedy, “Antigone”, for a concert that is being put together by the inmates.
However, a few days before their performance the two men are given the bittersweet news that John’s sentence had been shortened to three months. Meanwhile, Winston will have to continue “The Island” by Athol Fugard is short but deeply moving. This short-story follows two prisoners, John and Winston, who have been imprisoned on Robben Island for unknown reasons. The two men are tasked with performing the ancient Greek tragedy, “Antigone”, for a concert that is being put together by the inmates.
However, a few days before their performance the two men are given the bittersweet news that John’s sentence had been shortened to three months. Meanwhile, Winston will have to continue to serve his life sentence. The story ends shortly after the two men conclude their performance, leaving both the fates of John and Winston to the imagination of the reader.
Although it is said from the start that both men are criminals, it is still easy to grow fond of them throughout the story. Their friendship is solid and built up from the beginning. This makes the reader feel even more sympathy when they are given the news that John only has three months left. You feel happiness for John because he is able to go home to his wife and children; but there is still that lingering sadness for Winston. These men have spent the past seven years of their lives sharing a jail cell and because of this a tight bond is formed.
They have a brotherly love for each other and created a routine to keep one another going. Both men are black and this play is set during a time where apartheid was a large issue in South Africa. This allows the inference to be made that they are most likely in jail because they were protesting the apartheid laws in some way. This connection can lead back to Antigone as this is exactly what she did in the play. Antigone protested the law that prevented her from burying her brother, Polyneices, which was put in place by her uncle, King Creon. The protagonists in both “The Island” and “Antigone” were protesting laws that opposed doing what was morally right. The writing style in this play is very rich and you really get a feel as to what life was like to be stuck on that island.
The imagery in the parentheticals does an excellent job of letting you know exactly where you are. It is a play so all of the actions are written out, but that almost makes everything more vivid in your mind.
The friendship between John and Winston is written so well. You can tell how much they care for one another in their words and actions. It isn’t until the end of the play that you realize that they will never be able to see each other again and the emotions they are feeling when the characters themselves start to realize this. “Forget me.because I’m going to forget you.
Yes, I will forget you. Others will come in here, John, count, go, and I’ll forget them.
Still more will come, count like you, go like you, and I will forget them. And then one day, it will all be over.” This quote in particular really shows the pain that Winston goes through when he learns of John’s appeal being approved. It is obvious that Winstone will never forget John and vice versa. Both men know this and yet they feel the need to hide their feelings from each other. It is their way of sparing their own feelings and the others feelings, when in reality both of them are suffering.
Overall, this play is a great companion to anyone who is reading Antigone or someone who just wants a quick, moving read. The author did a stellar job at weaving in similar themes from Antigone, such as civil disobedience and oppression.
The writing was beautifully stylized and did an excellent job at conveying everything the characters were feeling. You easily come to care for these characters and their emotions become your own. “The Island” is an excellent play to read or watch. It is a must read for anyone that wants a clear perspective as to what life was like for those who protested apartheid. Harold Athol Lannigan Fugard (b. June 11, 1932, Middelburg, South Africa), better known as Athol Fugard, is a South African playwright, actor, and director. His wife, Sheila Fugard, and their daughter, Lisa Fugard, are also writers.
Athol Fugard was born of an Irish Roman Catholic father and an Afrikaner mother. He considers himself an Afrikaner, but writes in English to reach a larger audience. Hi Harold Athol Lannigan Fugard (b. June 11, 1932, Middelburg, South Africa), better known as Athol Fugard, is a South African playwright, actor, and director.
His wife, Sheila Fugard, and their daughter, Lisa Fugard, are also writers. Athol Fugard was born of an Irish Roman Catholic father and an Afrikaner mother.
The Island By Athol Fugard Pdf Free
He considers himself an Afrikaner, but writes in English to reach a larger audience. His family moved to Port Elizabeth soon after he was born. In 1938, he was enrolled at the Marist Brothers College — a Catholic primary school (although he is not known to be a Roman Catholic). After being awarded a scholarship, he enrolled at the local technical college for his secondary education.
He then enrolled in the University of Cape Town but dropped out. He sailed around the world working on ships (mainly in the Far East). Fugard married Sheila Meiring, now known as Sheila Fugard, then an actress in one of his plays, in September 1956. She later became a novelist and poet in her own right. They started the Serpent Players in Port Elizabeth before moving to Johannesburg where he was employed as a court clerk. Working in the court environment and seeing how the Africans suffered under the pass laws provided Fugard with a firsthand insight into the injustice and pain of apartheid. Working with a group of black actors (including Zakes Mokae), Fugard wrote his first play No Good Friday.
Returning to Port Elizabeth in the early 1960s, he worked with a group of actors whose first performance was in the former snake pit of the zoo, hence the name The Serpent Players. The political slant of his plays bought him into conflict with the government. In order to avoid prosecution, he started to take his plays overseas. After Blood Knot, was produced in England, his passport was withdrawn for four years. In 1962, he publicly supported an international boycott against segregated theatre audiences which led to further restrictions. He worked extensively with two black actors John Kani and Winston Ntshona and workshopped three plays viz.
Sizwe Banzi is Dead, The Island and Statements After an Arrest Under the Immorality Act. The early plays workshopped with Kani and Ntshona were staged in black areas for a night and then the cast moved to the next venue – probably a dimly lit church hall or community centre.
The audience was normally poor migrant labourers and the residents of hostels in the townships. The plays at this time were political and mirrored the frustrations in the lives of the audience. Fugard's plays drew the audience into the drama, they would applaud, cry and interject their own opinions. Fugard used feedback from the audience to improve the plays – expanding the parts that worked and deleting the ones that did not. For example in Sizwe Banzi is Dead, migrant worker Bansi can only survive by assuming someone else's identity and getting the important apartheid pass in order to get a job.
When he debates how Sizwe would effectively “die” and whether the sacrifice would be worth it, the audience would cry out “Go on, Do it,” because they appreciated that without a pass you were effectively a non-entity. Sets and props were improvised from whatever was available which helps to explain the minimalist sets that productions of these plays utilise. In 1971, the restrictions against Fugard were eased, allowing him to travel to England in order to direct Boesman and Lena.
Master Harold.and the Boys, written in 1982 is a semi-autobiographical work. Fugard showed he was against injustice on both sides of the fence with his play My Children! Where he attacked the ANC for deciding to boycott African schools as he realised the damage it would cause a generation of African pupils.
With the demise of apartheid, Fugard's first two postapartheid plays Valley Song and The Captain's Tiger focused on personal rather than political issues. His plays are regularly produced and have won many awa.
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.
Athol Fugard Quotes
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.
Athol Fugard The Blood Knot
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 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. 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. Colin Chambers (London, 2002).