Athol Fugard, born on June 11, 1932, in South Africa's arid Karoo region,
emerged as one of the most celebrated playwrights of his country. His works
often reflect the stark realities of apartheid, portraying personal and
societal struggles. Fugard's plays are set against the backdrop of his
homeland, particularly the city of Port Elizabeth, where he spent much of his
life.
Early Life and Family Background
Athol Harold Lannigan Fugard was born in Middelburg, a modest village in
South Africa's semi-desert Karoo. His Afrikaner mother, Elizabeth Magdalena
Potgieter Fugard, traced her lineage back to the early Dutch settlers of 1652,
while his father, Harold David Fugard, had English and Irish ancestry. Named
after the British Earl of Athlone at his grandmother's behest, Fugard was
destined for a distinguished, though initially unanticipated, path.
Life in Port Elizabeth
At the age of three, Fugard and his family relocated to Port Elizabeth, a
city that would become the stage for much of his life and work. In his
introduction to Boesman and Lena and Other Plays, published in 1978,
Fugard depicts Port Elizabeth as a "featureless industrial port on the Indian
Ocean" known for its relentless winds. The city, with its diverse population of
blacks, whites, Indians, Chinese, and mixed-race individuals, exposed Fugard to
the harsh realities of apartheid. Despite its unremarkable landscape and
turbulent weather, Fugard felt an indelible connection to Port Elizabeth, often
using it as the setting for his plays.
Family Dynamics and Influence
Fugard's father, a jazz musician, struggled with depression and alcoholism,
exacerbated by the loss of his leg in a childhood accident. In contrast,
Fugard's mother managed the St. George's Park Tearoom and was known for her
unbiased outlook, hiring black waiters like Sam Semela, who became a
significant figure in Fugard's life. Fugard's recollections of his father's
unfounded prejudices and his mother's color-blindness profoundly shaped his
views, as did his friendship with Sam.
Formative Experiences and "Master Harold...and the Boys"
One formative incident occurred when Fugard had to retrieve his inebriated
father from a whites-only bar, with Sam's assistance. This humbling experience,
coupled with Sam's gentle guidance during Fugard's childhood, later inspired
the powerful narrative of Master Harold...and the Boys (1982). The
play reflects on issues of race and the painful moments that define personal
and national histories.
Educational Journey and Early Career
Despite his early literary interests, Fugard initially pursued practical
skills, studying automobile mechanics at Port Elizabeth Technical College
before shifting to philosophy and social anthropology at the University of Cape
Town. He left university without obtaining a degree, opting for a
transformative journey across Africa, which culminated in a stint as an
apprentice seaman on the S.S. Graigaur. Returning to Port Elizabeth
after two years, Fugard resolved to write, briefly working as a journalist
before meeting and marrying Sheila Meiring, an actress.
Foundation of the Circle Players and Legal Work
Together, Fugard and his wife established the Circle Players theater company
in 1957. The following year, they moved to Johannesburg, where Fugard took a
clerical position at the Fordsburg Native Commissioner's Court. This role
exposed him to the brutal enforcement of apartheid's "Pass Laws," a
dehumanizing system he likened to a "sausage machine" due to its mechanical and
unjust handling of human lives.
Commitment to Theatre and Playwriting
Disenchanted by his court work, Fugard transitioned to a stage manager role
with South Africa's National Theatre Organization and dived into playwriting.
His breakthrough play, The Blood Knot (1961), explored the complexities of race through the story of two brothers, one black and one light-skinned enough to pass as white. Fugard often took...
