Albert Wertheim analyzes the form and content of Fugard's dramas, showing that they are more than a dramatic chronicle of South African life and racial problems. The energy and poignancy of his work have their origins in the institutionalized racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. This book is aimed not only at teachers, students, scholars, and performers of Fugard but also at the person who simply loves going to see a Fugard play at the theatre.' -Nancy Topping Bazin, Eminent Scholar and Professor Emerita, Old Dominion University Athol Fugard is considered one of the most brilliant, powerful, and theatrically astute of modern dramatists. 'Albert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written. This book is aimed not only at teachers, students, scholars, and performers of Fugard but also at the person who simply loves going to see a Fugard play at the theatre. The Dramatic Art of Athol Fugard demonstrates how Fugard's plays enable us to see that what is performed on stage can also be performed in society and in our lives how, inverting Shakespeare, Athol Fugard makes his stage the world. Beginning with the specifics of his homeland, Fugard's plays reach out to engage more far-reaching issues of human relationships, race and racism, and the power of art to evoke change. In The Dramatic Art of Athol Fugard, Albert Wertheim analyzes the form and content of Fugard's dramas, showing that they are more than a dramatic chronicle of South African life and racial problems. The energy and poignancy of Fugard's work have their origins in the institutionalized racism of his native South Africa, and more recently in the issues facing a new South Africa after apartheid. and the boys, A Lesson from Aloes, and Sizwe Bansi Is Dead. Nancy Topping Bazin, Eminent Scholar and Professor Emeritus, Old Dominion University Considered one of the most brilliant, powerful, and theatrically astute of modern dramatists, South African playwright Athol Fugard is best known for The Blood Knot, MASTER HAROLD. He also illuminates his interpretations with the help of Fugard's manuscripts, previously available only in South Africa.

Thus, he places Fugard's works not so much in a South African context as in a theatrical context. He also conveys well what Fugard has learned from other plays and dramatists. It was a pleasure to read! Wertheim succeeds in communicating the greatness of Fugard as a playwright, actor, and director. 44.ДЄlbert Wertheim's study of Fugard's plays is both extremely insightful and beautifully written-a book that held my attention from beginning to end. Silvester, Dancing for the Millions, p. Heinrich von Staden, вЂњ An Interview with Athol Fugard, вЂќ p. Alan Shelley's study is an accessible but profound analysis of the man, his work and its influence, the social injustices that drive him, and the lives of those who people his remarkable plays. Fugard's work retains an insistent influence, and is studied and performed the world over.

and the boys came to broadcast the inequities of the Apartheid-era to the world. Consequently, powerful plays such as The Blood Knot, Sizwe Banzi is Dead, and Master Harold. Using mostly migrant workers and township dwellers, and staging guerrilla-raid productions in black areas, Fugard frequently came into conflict with the government, forcing him to take his work overseas. Alan Shelley's study is an accessible but profound analysis of the man, his work and its influence, the social injustices that drive him, and the lives of those who people his remarkable plays.ДЄ playwright whose work is appreciated on a global scale, Athol Fugard's plays have done more to document and provide a cultural commentary on Apartheid-era South Africa than any other writer in the last century.

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