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Book Title: Sorrows and Rejoicings|
The author of the book: Athol Fugard
Format files: PDF
The size of the: 876 KB
Edition: Theatre Communications Group
Date of issue: November 1st 2001
ISBN 13: 9781559362085
Read full description of the books Sorrows and Rejoicings:"If there is a more urgent and indispensible playwright in world theatre than South Africa's Athol Fugard, I don't know who it could be."—Jack Kroll, Newsweek
One of the true contemporary masters of the stage, South African playwright Athol Fugard has written one of his most stunning works. Sorrows and Rejoicings explores the legacy of Apartheid on two women—one white, the other black—who on the surface seem to have little in common except for their love of one man, a white poet who is attached to the Karoo land of South Africa. The drama moves between past and present, reliving the poet's despondent years in exile and his eventual return to a new South Africa. With lyrical grace, Fugard once again demonstrates the human struggle to transcend the treacherous injustices of history.
South African playwright, actor and director, Athol Fugard is one of the world's leading theatre artists, of whom The New Yorker has said, "A rare playwright, who could be a primary candidate for either the Nobel Prize on Literature or the Nobel Peace Prize."
Also available by Athol Fugard:
The Road to Mecca
PB $11.95 0-930452-79-8 • USA
My Children! My Africa!
PB $10.95 1-55936-014-3 o USA
PB $10.95 0-930452-61-5 • USA
Blood Knot and Other Plays
PB $ 14.95 1-55936-020-8 • USA
PB $10.95 1-55936-119-0 • USA
Read information about the authorHarold 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. 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! My Africa! 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
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