Athol Fugard Criticism
Athol Fugard stands as a significant figure in modern theater, renowned for his poignant and introspective works that examine the harsh realities and moral complexities of apartheid in South Africa. His extensive body of work, including plays such as The Blood Knot and the acclaimed "Master Harold" … and the Boys, goes beyond simple protest. Critics like Clive Barnes and Frank Rich have noted his ability to deeply explore the emotional and psychological scars left by racial injustice through richly developed characters. Fugard's commitment to revealing the inner lives of his characters within the oppressive systems of apartheid marks his work as both profound and universally resonant.
Fugard's influence extends beyond his writing, as demonstrated by his efforts to make theater accessible to all. He founded the Serpent Players, a nonwhite theater company, and partnered with actors Winston Ntshona and John Kani, producing influential works like Sizwe Bansi Is Dead and The Island. These collaborations highlight his dedication to challenging apartheid through dynamic and innovative theatrical forms, as underscored by Mary Benson. Despite facing early criticisms about the development of his craft from figures like Richard Eder, Edith Oliver, and John Simon, Fugard's plays have continued to captivate audiences with their existential themes and nuanced character portrayals.
Apart from his plays, Fugard's literary ventures include his sole novel, Tsotsi. Though John Mellors critiqued the protagonist’s transformation, Sheila Roberts praised the novel for its empathetic depiction of life in a South African township. This work complements his theatrical oeuvre, further illustrating his ability to penetrate the surface of societal issues, revealing the personal and communal impacts of apartheid.
Through a mix of intense character studies and socially charged narratives, Fugard's work invites readers and audiences alike to engage with the enduring legacy of apartheid, making his contributions both artistically significant and a vital commentary on human resilience and hope amidst systemic oppression.
Contents
- Fugard, Athol (Vol. 5)
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Fugard, Athol (Vol. 14)
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Athol Fugard and 'One Little Corner of the World'
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In the following essay, Mary Benson explores Athol Fugard's commitment to portraying the existential struggles and survival of marginalized characters in South Africa, emphasizing his use of "pure theatre experience" and innovative narrative techniques to convey profound socio-political themes.
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Biography
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In the following essay, Athol Fugard reflects on his creative process and the development of his plays, focusing on the themes of existentialism, character complexity, and the challenges of translating cultural nuances, notably within his works such as Hello and Goodbye and Boesman and Lena.
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'Nongogo', a Drama
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In the following essay, Richard Eder critiques Athol Fugard's play "Nongogo," acknowledging its exploration of societal degradation and hope but finding it less effective than Fugard's later works due to its thin characterization and mechanical plot.
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The Theatre: 'Nongogo'
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In the following essay, Edith Oliver examines Athol Fugard's early play "Nongogo," noting his innate dramatist abilities and his nuanced exploration of racial dynamics in South Africa without resorting to propaganda, while acknowledging the play's occasional awkwardness and melodrama as signs of his developing craft.
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Futile Fandango
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In the following essay, John Simon critiques Athol Fugard's play "Nongogo," asserting that despite Fugard's significant impact on raising global awareness about apartheid, this early work suffers from being simplistic, predictable, and marred by an overaccelerated plot that lacks the measured pacing of more mature dramatic efforts.
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20 Years Ago Is Now
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In the following essay, Terry Curtis Fox argues that Athol Fugard's work, characterized by its depiction of characters doomed by societal oppression, remains poignantly relevant due to the unrelenting persistence of apartheid, emphasizing Fugard's extraordinary perseverance in addressing the tragic repetition of historical and political injustices.
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Athol Fugard and 'One Little Corner of the World'
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- Fugard, Athol (Vol. 9)
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Fugard, Athol (Vol. 25)
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Dreadful Things
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In the following essay, John Mellors critiques Athol Fugard's novel Tsotsi, arguing that while Fugard's depiction of violence and environment is vivid and his empathy clear, the protagonist's transformation lacks authenticity, as Fugard's personal insights appear imposed onto the character, undermining the novel's credibility.
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Fugard's Images of Apartheid
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In the following essay, Chris Jones critiques the film "Marigolds in August," highlighting how Athol Fugard portrays the division and struggle among black workers under apartheid, but argues that the film's initial powerful imagery and thematic exploration give way to less effective symbolic resolutions.
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Survivors
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In the following essay, Brendan Gill critiques Athol Fugard's play "A Lesson from Aloes" as a slow and subtle exploration of survival and alienation under apartheid, praising its metaphorical complexity but lamenting its lack of overt action and narrative resolution.
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No Place for Heroes
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In the following essay, Jacoby explores Athol Fugard's shift from symbolic to direct representation of South African realities in his plays, focusing on how the personal and political tensions in works like A Lesson From Aloes reveal complex human relationships shaped by the oppressive political climate.
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Theatre Chronicle
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In the following essay, Robert Asahina critiques Athol Fugard's A Lesson From Aloes as a confused and artificial drama, questioning the plausibility of character motivations and suggesting that the play's symbolism and dramatic strategies fail to convincingly depict the enduring impact of apartheid.
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South Africa: 'Tsotsi'
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In the following essay, Sheila Roberts argues that Athol Fugard's novel Tsotsi demonstrates his exceptional character development, emotional depth, and linguistic prowess, which significantly contributed to his later success as a playwright, offering a nuanced portrayal of humanity amidst the harsh realities of a South African township.
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Fiction Chronicle
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In the following essay, George Kearns critiques Athol Fugard's Tsotsi for its intense narrative set in a South African slum and its attempt to transition the protagonist from a brutish existence to one of human conscience, ultimately finding its constrained time frame and blend of realism and fable unconvincing.
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'Master Harold' is Masterful Look at South African Life
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In the following essay, Clive Barnes argues that Athol Fugard's play "Master Harold … and the Boys" is a powerful and complex political commentary on apartheid in South Africa, masterfully crafted to deliver a profound emotional impact, portraying the intertwining themes of personal and national tragedy with exceptional skill.
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Stage: 'Master Harold', Fugard's Drama on Origin of Hate
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In the following essay, Frank Rich praises Athol Fugard's play "'Master Harold' … and the Boys" for its profound exploration of racial and personal conflict, highlighting its universal themes of love and self-respect, and lauding Fugard's honesty and artistic brilliance in creating a work that provokes deep reflection on the nature of hatred.
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Two Harolds and No Medea
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In the following essay, John Simon argues that Athol Fugard's 'Master Harold' … and the Boys poignantly addresses the subtleties of apartheid's destructiveness through its exploration of human frailties, while highlighting Fugard's skillful writing and direction that evoke a profound sense of compassion and universal relevance.
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B.C. to A.D.
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In the following essay, Brendan Gill critiques "'Master Harold' … and the Boys," acknowledging its acclaim for addressing apartheid's moral issues while suggesting that its overly neat design and predictable climax detract from its impact.
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Coming at History from Two Sides
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In the following essay, Robert Brustein argues that while Athol Fugard may lack the artistic innovation of playwrights like Beckett or Brecht, his work, particularly in Master Harold … and the boys, is powerful due to its heartfelt exploration of racial injustice and the personal guilt intertwined with South Africa's apartheid.
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Dreadful Things
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