Difference between revisions of "Athol Fugard"

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'''Harold Athol Lanigan Fugard''' (1932- ) is an internationally-renowned South African playwright, novelist, actor, and director.
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(1932-). Internationally renowned playwright, author (novel, short stories, poems), actor, director. Born Harold Athol Lanigan Fugard in Middelburg, Great Karoo, Cape Province, South Africa. His mother (Elizabeth Magdalena Katerina Potgieter) was an Afrikaner and his father (Harold David Lanigan Fugard) was primarily of English, Huguenot, and Irish ancestry. In 1935 his family moved to Port Elizabeth where in 1938 -1945 Fugard attended the Marist Brothers College and the Albert Jackson Primary School. Fugard’s mother ran the Jubilee Boarding house and then in 1942 St George’s Park Tearoom. From 1946 -1950 Fugard attended secondary school at Port Elizabeth Technical College, and 1951-53 the University of Cape Town. He has always been an avid reader, and although his first scholarship was for motor mechanics, his true avocation was for philosophy and literature (the works of Faulkner and the existentialists, particularly Camus). Before finishing his degree, Fugard left the university to hitchhike up Africa Perseus Adams and sail around the world, returning in 1954. In the time he worked on a novel, later abandoned. At first he wrote freelance articles for the Evening Post in Port Elizabeth. Works for SABC as reporter in Port Elizabeth and later Seapoint (1955-1957). In 1956 he married actress and novelist  Sheila Meiring, and in 1961 his only daughter, Lisa, was born, and in 2003 his grandson, Gavyn. Sheila introduced him to theatre as a medium in Cape Town, where he played Laius in André Huguenet's production of Oedipus Rex (1956) for example. Fugard also began his career as playwright in Cape Town, writing for a theatre group ( the Circle Players) which he and Sheila had started. Among them The Cell and Klaas and the Devil, one-act plays that he later destroyed. In 1958 the Fugards moved to Johannesburg where he worked in the Fordsburg Native Commissioner’s Court. He left that job and became a stage manager for the National Theatre Organisation's Kamertoneel in 1958, working on the first production of N.P. van Wyk Louw's Germanicus, James Ambrose Brown's Seven against the Sun and other plays. The Belgian director Tone Brulin was among those he met at the time and took to see the first production of his play No-Good Friday which he was doing with the Africa Theatre Workshop in Sophiatown. In 1959 he directed the premiére of Nongogo.  Following this the Fugards went to England, where he tried to get into theatre but failed, then to belgium, to form the  New Africa Theatre Group in Brussels with Tone Brulin, Ian Herbert and Clive Farrel. He acted in Herbert's A Kakamas Greek and directed Brulin's anti-apartheid play De Honden. This was to affect his relationship with the government strongly, an act which, taken in conjunction with his own anti-apartheid writing in the 1960s, led to his passport being taken from him in 1967 and only returned in 1971. On his return in 1961 he wrote and directed The Bloodknot and in 1962 works for a while at Dorkay House, managing in the Rehearsal Room before returning to Port Elizabeth in November 1963, and to Schoenmakerskop in 1964. In 1963 Fugard where he helped found the Serpent Players in Port Elizabeth, working with people like John Kani and Winston Ntshona. They began by performing European classics (Mandragola/The Cure, Woyzeck, Antigone), but gradually moved on to creating new plays based on their experiences. While still writing his own work, Fugard at this time also experimented with the workshop process in order to create key works such as The Coat (1966), Sizwe Bansi Is Dead (1972) and The Island (1973). He was then invited to "create" a work for CAPAB's Theatre Laboratory in Cape Twon, the result being Orestes (1971*), featuring Yvonne Bryceland. This production was the catalyst to the forming of the Space Theatre in Cape Town in 1972, where a number of Fugard plays were to be done, including Die Hodoshe Span (The Island), Dimetos, Drivers, Hello and Goodbye, Nongogo, People are Living There, Sizwe Banzi Is Dead and Statements after an arrest under the Immorality Act. Fugard also directed The Terrorists for The Space. In 1972 the Fugards purchased a house in Nieu Bethesda and in Sardinia Bay, near Port Elizabeth, and Fugard settled down to his most productive period of his career, writing and working with the leading managers, directors and performers in the country, including a lifelong association with people such as Brian Astbury, Barney Simon, Mannie Manim, John Kani, Zakes Mokae, Bill Flynn, Marius Weyers, and many others. In the 1980s, as his reputation grew there,  Fugard also began working closely with American producers, and spent time as writer in residence at Yale University. Most of his plays now premiéred in the United States, then opened in South Africa. In 1990 he purchased another house in Nieu Bethesda, it is there that they now live for part of the year, and the other part in Del Mar, California. Above anything else Fugard is a playwright, one with a distinctive and influential style and way of working . Ultilizing basic realism and a simple set, his highly verbal texts focus on a few, clearly delineated and distinctive characters at a critical moment in their lives. The first productions also epitomized Fugard's own theatrical involvement over the years. He would first write the text alone in his study, then go to work on it as director of the first production - often playing one of the roles as well. This pattern would be followed for much of his life. It was only in 2000 that he made a decision to concentrate on playwriting and tell the stories that needed telling.Titles of thirty-three plays are known and twenty-seven have been published. These include The Cell (1956), No Good Friday (1958), Nongogo (1959),The Bloodknot (1961, revised as Bloodknot 199*), Hello and Goodbye (1965),  The Coat (1966), People are Living There (1968), Boesman and Lena (1969), Orestes (1971) Statements after an Arrest under the Immorality Act (1972), Sizwe Bansi Is Dead (1972), The Island (1973), Dimetos (1975), A Lesson from Aloes (1978), The Drummer (1980), Master Harold… and the boys (1982), A Place with the Pigs (1985) The Road to Mecca (1987*), My Children! My Africa! (1989); Playland (1992), Valley Song (1995), The Captain's Tiger (199*), The Abbess (2000, published South African Theatre Journal 2005), Sorrows and Rejoicings (2001), Exits and Entrances (2004). His prose works include the novel Tsotsi (published 1980, filmed 2004), his Notebooks 1968-77 (edited by Mary Benson, published in 1983), Cousins (a memoir, published 1994), A Karoo Directory (a collection of short stories, 2004)/Karoo Stories (2005). Fugard has acted in many films, a number of which were made of his own work, and he wrote screenplays for some of them. They include: The Occupation (1963); Mille Miglia (1968, for BBC television); The Guest (1997) and Marigolds in August (1980). He also acted in Peter Brook’s Meetings with Remarkable Men (1979); Richard Attenborough’s Gandhi (1982); and Roland Joffé’s The Killing Fields (1984). Highly regarded nationally and internationally, he has been referred to as the best playwright writing in English since Shakespeare. An influential figure in South African theatre for more than 50 years, Fugard created serious and authentic theatre in South Africa with plays that trace the history of the country from the early days of apartheid to the years following the liberation. In recognition of this Fugard's work has received numerous awards all over the world, including a number of Tony awards on Broadway and in the Drama Desk Award and Outer Critic’s Circle award for Master Harold …and the boys as Best Play of 1982. The many South African awards over the past years include Three Leaf Awards, Fleur du Cap Theatre Awards, and Vita Awards. He has honorary doctorates from a number of Universities, including Rhodes University, the University of Cape Town, University of Stellenbosch, Brown University, Georgetown University and Yale University. In 1998 he received South Africa’s Vita Award for lifetime achievement; in 2000 the Fleur du Cap Lifetime Achievement Award; in 2001 he was inducted into the American Theatre Hall of Fame; and in 2002 the Lifetime Achievement Award in South African Theatre(??**). He is also a fellow of the Royal Society for Literature (London) and a member of the American Academy. In 1998 his original papers were deposited at Lilly Library at the University of Indiana while an extensive archive can be consulted at National English Literary Museum in Grahamstown. FUGARD, Athol. Authentic voice of South Africa and a major twentieth century playwright. His first major play, No-Good Friday  was staged at the Bantu Men’s Social Centre in conjunction with the Union of Southern African Artists. Fugard himself appeared in the play, together with his black cast – Bloke Modisane, Dan Poho, Steve Moloi, Ken Gampu, Gladys Sibisa and Zakes Mokae in 1958. This play was later transferred to the Brooke Theatre for a ‘whites only’ run. He tagged No-Good Friday and his second play, Nongogo, his ‘apprenticeship’ plays. Nongogo was staged for the first time in 1959. His The Blood Knot starring Athol himself and Zakes Mokae opened at the Rhodes Theatre in Grahamstown in July 1961, and then played at the Rehearsal Room at Dorkay House in September. Leon Gluckman then presented it at the Intimate. He wrote Master Harold… and the Boys for which Zakes Mokae won a Tony Award. Ian Bernhardt presented Athol and Molly Seftel in Fugard’s Hello and Goodbye at the Library in 1965. He directed his own Boesman and Lena and People are Living There, both starring Yvonne Bryceland and Glyn Day, for the PACT, CAPAB and Phoenix Players collaboration in 1970. Together with John Kani and Winston Ntshona they formed the Serpent Players who workshopped the play, Sizwe Banzi is Dead, starring Kani and Ntshona. Ian Bernhardt brought it to the Men’s Common Room for the Phoenix Players in November 1972. It was directed by Barney Simon. Together with John Kani and Winston Ntshona he created The Island which was staged at The Space Theatre circa 1973. It travelled abroad and enjoyed many runs locally, including one at the Market Theatre in May 1995. He was closely involved in the formation of The Space Theatre, together with Brian Astbury and Yvonne Bryceland. It opened on 28 May 1972 with Fugard’s Statements After an Arrest Under the Immorality Act also starring himself, Yvonne Bryceland and Christopher Prophet. His Hello and Goodbye was staged at the Inaugural Festival of the 1820 Settlers National Monument in 1974. His The Blood Knot, directed by Benjy Francis and starring Francis and Fats Bookholane was revived and staged at Upstairs at The Market in 1976. He directed a revival of Hello and Goodbye at the Arena in 1977. He wrote the play Dimetos. His A Lesson from Aloes, directed by and starring himself, together with Shelagh Holliday and Marius Weyers enjoyed its world premiere at The Market in November 1978. Barney Simon directed Vivian Solomons and Wilma Stockenström in his Statements After an Arrest Under the Immorality Act at The Market in 1979. His A Lesson from Aloes directed by Ross Devenish and starring Marius Weyers, Shelagh Holliday and Bill Curry was staged at Upstairs at the Market in 1980. Die Bywoners produced the first translation of his play Hello and Goodbye called Hallo en Koebaai, directed by Jan Engelen and starring Schalk Jacobsz and Elna Potgieter at Upstairs at the Market in 1981. His Nongogo with Thoko Ntshinga was staged at the Laager in 1981. His Master Harold … and the Boys starring John Kani, Ramolao Makhene and Duart Sylwain was staged at the Market in March 1983. It was also directed by Fugard who was assisted by Suzanne Shepherd.  It was staged at the Wits University Theatre after a countrywide tour in 1983. His The Road to Mecca starring Yvonne Bryceland, Elize Cawood and Louis van Niekerk was staged at the Market in November 1984. He wrote and starred in A Place for the Pigs which was staged at the Market in 1987. His The Blood Knot was directed by Barney Simon for PACT in 1988. He wrote and directed My Children! My Africa! which was staged in 1989. He wrote and directed Playland at the Market in 1992. His Nongogo was staged at the Pieter Roos in 1994. His Hello and Goodbye was staged at Upstairs at the Market in 1994. FUGARD, Harold  Athol Lannigan, born 11 June 1932 in Middelburg, CP. Trained in Philosphy & Anthropology at UCT. Master Harold & the Boys, Baxter Company ’83 (Market Theatre Company Production) with John Kani, Duarte Sylwain & Makhen’e Ramolao, Athol (dir).  No good Friday (1958).  Sorrows and Rejoicings, Athol Fugard, Baxter, 2001.  Marius Weyers, Denise Newman, Jennifer Steyn & Amrain Ismail-Essop.  Mederegie saam met Athol, Susan Hilferty.  Lighting: Mannie Manim.  Valley Song. Ivan Abrahams & Quanita Adams.  Director: Rubin, Barbara.  Design: Curtis, Patrick.  Baxter. (2003)
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Highly regarded nationally and internationally, Fugard was referred to as 'the greatest active playwright' writing in English in the 1980s, and was voted one of the top 100 playwrights of the 20th century.  
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An influential figure in South African theatre for more than 50 years, Fugard created serious and authentic theatre in South Africa with plays that trace the history of the country from the early days of apartheid to the years following the liberation and inspired a number of other writers, directors and performers.
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He was also involved in the creation of an alternative infrastructure for South African theatre through his involvement with a range of companies and theatre venues, including the [[Space Theatre]], the [[Serpent Players]], The [[Rehearsal Room]] at [[Dorkay House]], the [[Market Theatre]], the [[Baxter Theatre]] and the [[Fugard Theatre]] in Cape Town.  
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== Biography ==
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Born Harold Athol Lanigan Fugard in Middelburg, Great Karoo, Cape Province, South Africa, on 11 June 1932. His mother (Elizabeth Magdalena Katerina Potgieter) was an [[Afrikaner]] and his father (Harold David Lanigan Fugard) was primarily of English, Huguenot, and Irish ancestry. In 1935, his family moved to Port Elizabeth where Fugard’s mother ran the Jubilee Boarding House and later (in 1942) the St George’s Park Tea Room (the setting and inspiration for his autobiographical play ''[["Master Harold" ... and the boys]]''). Fugard's father was a pianist and an alcoholic who was crippled in an accident and who died when Fugard was 29.
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In 1956, he married actress and novelist [[Sheila Meiring]] ([[Sheila Fugard]]), and in 1961 his only daughter, [[Lisa Fugard]], was born, and in 2003 his grandson, Gavyn. Fugard and Meiring divorced in 2015.
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In 2016, he married academic and playwright [[Paula Fourie]].
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=== Education ===
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Fugard attended the Marist Brothers College and the Albert Jackson Primary School. From 1946 to 1950, Fugard attended secondary school at Port Elizabeth Technical College, and from 1951 to 1953 the [[University of Cape Town]] (studying philosophy, anthropology, sociology and French). He has always been an avid reader, and although his first scholarship was for motor mechanics, his true avocation was for philosophy and literature (the works of Faulkner and the existentialists, particularly Camus). Before finishing his degree, Fugard left the university to hitchhike up Africa with [[Perseus Adams]] for six months. He ended up sailing around the world on a tramp steamer (the S.S. Graigaur), returning to South Africa in 1954. While travelling, he worked on a novel, later abandoned (thrown into the sea at Fiji, and referred to in ''[[The Captain's Tiger]]'').
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=== Port Elizabeth and Cape Town (1955-1957) ===
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At first Fugard wrote freelance articles for the ''[[Evening Post]]'' in Port Elizabeth, then worked for the [[SABC]] as reporter in Port Elizabeth and later in Seapoint in Cape Town (1955-1957), where he met the actress [[Sheila Meiring]], who introduced him to theatre as a medium in Cape Town. He did some acting, playing Laius in [[André Huguenet]]'s production of ''[[Oedipus Rex]]'' (1956) for example, and began his career as playwright by writing for the [[Circle Players]], an experimental group which he and Sheila had started. Among the works were ''[[The Cell]]'' and ''[[Klaas and the Devil]]'', one-act plays that he later destroyed.
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=== Johannesburg (1958-1959) ===
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In 1958, the Fugards moved to Johannesburg, where he worked for six months as a clerk in the Fordsburg Native Commissioner’s Court - pass-law offenders were tried this court. He left that job and became a stage manager for the [[National Theatre Organisation]]'s [[Kamertoneel]] in 1958, working on the first production of [[N.P. van Wyk Louw]]'s ''[[Germanicus]]'', [[James Ambrose Brown]]'s ''[[Seven against the Sun]]'', [[Bartho Smit]]'s ''[[Moeder Hanna]]'' and other plays. The Belgian director [[Tone Brulin]] was among those he met at the time and took to see the first production of his play ''[[No-Good Friday]]'' which he was doing with the [[Africa Theatre Workshop]] (which the Fugards had started) in Sophiatown. At this time, Fugard had met a remarkable group of artists and writers, including [[Bloke Modisane]], [[Can Temba]], [[Nat Nakasa]], [[Lewis Nkosi]] and [[Zakes Mokae]]. In 1959, Fugard directed the premiére of ''[[Nongogo]]''.
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=== England and Belgium (1960) ===
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In 1960, the Fugards went to England, where he tried to get into theatre, but failed, then went on to Belgium, to form the [[New Africa Group|New Africa Theatre Group]] in Brussels with [[Tone Brulin]], [[David Herbert]] and [[Clive Farrel]]. He acted in Herbert's ''[[A Kakamas Greek]]'' and directed Brulin's anti-apartheid play ''[[De Honden]]''. During this time abroad, Fugard began to keep a notebook, something he continued during his career, stockpiling observations, incidents and ideas that he would revisit in his later works.
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=== Return to South Africa (1961) and the Serpent Players ===
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On his return to the country in 1961, Fugard completed and directed ''[[The Blood Knot]]'' and in 1962 worked for a while at [[Dorkay House]], managing in [[The Rehearsal Room]], before returning to Port Elizabeth in November 1963 and settling and settling at Schoenmakerskop in 1964. In Port Elizabeth, he  helped found the [[Serpent Players]], working with people like [[John Kani]] and [[Winston Ntshona]]. They began by performing European classics (''[[La Mandragola]]''/''[[The Cure]]'', ''[[Woyzeck]]'', ''[[Antigone]]'') and works by Beckett and Soyinka, but gradually moved on to creating new plays based on their experiences, such as ''[[The Coat]]''.  
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Fugard's earlier work in Europe was to affect his relationship with the South African government strongly. His work and associations in Europe, taken in conjunction with his own anti-apartheid writing in the 1960s - and with his initiation of an international playwright's boycott of South Africa in 1963 - , led to his passport being taken from him in 1967 ('for reasons of state safety and security', the day after ''[[The Blood Knot]]'' aired on British television), and was only returned in 1971, following a public petition. McDonald suggests that the confiscation of Fugard's passport was an attempt to coerce Fugard to leave South Africa with no opportunity for return.
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While still writing his own work, Fugard at this time also experimented with the workshop process in order to co-create key works such as ''[[The Coat]]'' (1966), ''[[Sizwe Bansi is Dead]]'' (1972) and ''[[The Island]]'' (1973) with [[John Kani]], [[Winston Ntshona]] and other members of the [[Serpent Players]].
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=== Cape Town and The Space Theatre (1971 - ) ===
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Fugard was invited to "create" a work for [[CAPAB]]'s [[Theatre Laboratory]] in Cape Town, the result being ''[[Orestes]]'' (1971), featuring [[Yvonne Bryceland]]. This production of ''[[Orestes]]'' is credited by [[Brian Astbury]] (1979) as the catalyst to the founding of the [[Space Theatre]] in Cape Town in 1972. Fugard was closely involved in the formation of the [[Space Theatre]], together with [[Brian Astbury]] and [[Yvonne Bryceland]]. A number of Fugard's plays were to be done at the new venue, including ''[[Statements After an Arrest Under the Immorality Act]]'' (which opened the theatre on 28 May 1972), ''[[Die Hodoshe Span]]'' (''[[The Island]]''), ''[[Dimetos]]'', ''[[Drivers]]'', ''[[Hello and Goodbye]]'', ''[[Nongogo]]'', ''[[People are Living There]]'', ''[[Sizwe Bansi is Dead]]''. Fugard also directed ''[[The Terrorists]]'' for [[Space Theatre|The Space]].
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In 1972 the Fugards purchased two houses, one in Nieu Bethesda and another in Sardinia Bay, near Port Elizabeth, and Fugard settled down to what was to be his most productive period of his career, writing and working with the leading managers, directors and performers in the country, including a lifelong association with people such as [[Yvonne Bryceland]], [[Brian Astbury]], [[Barney Simon]], [[Mannie Manim]], [[John Kani]], [[Zakes Mokae]], [[Bill Flynn]], [[Marius Weyers]], and many others.
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=== The 1980s and the USA ===
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In the 1980s, as his work became widely performed and studied in the Europe and the USA, and his own reputation as writer grew,  Fugard began working closely with American producers, spending extensive periods as writer in residence at Yale University for instance. Most of his plays now premiéred in the United States, then opened at the [[Market Theatre]] in South Africa. In 1989, ''[[My Children! My Africa!]]'' was the first Fugard play to have its premiere in South Africa in eleven years.
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=== The 1990s ===
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In 1990, Fugard purchased a second house in Nieu Bethesda, and began to live there for part of the year, and the rest in Del Mar, California. In this period he had begun to work closely with academic and writer [[Marianne McDonald]], who would later write a biography of the playwright.
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At this time, Fugard's work reflected the shifts that were happening within South African society and politics. ''[[Playland]]'' (1992) examines some of the obstacles South Africans would have to overcome before reconciliation, and ''[[My Life]]'' (1994) was created with young South Africans about to enter adulthood in a South African society that itself was transforming.
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=== The new millennium ===
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Fugard's first production for the new millennium (''[[Sorrows and Rejoicings]]'', 2001) is also his first written outside South Africa, and the play itself is about exile.
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In 2012, Fugard became an artist in residence at the [[Stellenbosch Institute for Advanced Study]] ([[STIAS]])[https://stias.ac.za/] in Stellenbosch, among other projects writing his first plays in [[Afrikaans]] there. He met [[Paula Fourie]] there and he began working on a number of joint projects with her, both theatrical and biographical. He subsequently married her and they settled in Stellenbosch.
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== Fugard as writer ==
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Fugard has written plays, screenplays, novels, a memoir and a collection of short stories. His notebooks have also been published.
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=== Plays ===
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Above anything else Fugard is a playwright, one with a distinctive and influential style and way of working. Ultilizing basic realism and a simple set, his highly verbal texts focus on a few, clearly delineated and distinctive characters at a critical moment in their lives. The first productions also epitomized Fugard's own theatrical involvement over the years. He would first write the text alone in his study, then go to work on it as director of the first production - often playing one of the roles as well. This pattern would be followed for much of his life. It was only in 2000 that he made a decision to concentrate on playwriting and tell the stories that needed telling.
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Fugard has been a prolific play-maker (writing, collaborating, devising) since the 1950s. His works include:
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''[[Klaas and the Devil]]'' (195?)
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''[[The Cell]]'' (1956)
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''[[No-Good Friday]]'' (1958)
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''[[Nongogo]]'' (1959)
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''[[The Blood Knot]]'' (1961, revised as ''[[Blood Knot]]'', 1976 & 1985)
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''[[Hello and Goodbye]]'' (1965)
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''[[The Coat]]'' (with the [[Serpent Players]], 1966)
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''[[People are Living There]]'' (1968)
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''[[Boesman and Lena]]'' (1969)
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''[[Orestes]]'' (1971)
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''[[Statements After an Arrest Under the Immorality Act]]'' (1972)
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''[[Sizwe Bansi is Dead]]'' (with [[John Kani]] and [[Winston Ntshona]], 1972)
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''[[The Island]]'' (with [[John Kani]] and [[Winston Ntshona]], 1973)
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''[[Dimetos]]'' (1975)
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''[[A Lesson from Aloes]]'' (1978)
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''[[The Drummer]]'' (1980)
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''[[Master Harold ... and the boys]]'' (1982)
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''[[The Road to Mecca]]'' (1984)
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''[[A Place with the Pigs, A Personal Parable|A Place with the Pigs]]'' (1987)
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''[[My Children! My Africa!]]'' (1989)
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''[[Playland]]'' (1992)
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''[[My Life]]'' (with [[Sivagamy Govender]], [[Riana Jacobs]], [[Heather Leite]], [[Reshoketswe Maredi]] and [[Elleanor Busi Mthumunye]], 1994)
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''[[Valley Song]]'' (1995)
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''[[The Captain’s Tiger: A Memoir for the Stage]]'' (1997)
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''[[The Abbess]]'' (2000)
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''[[Sorrows and Rejoicings]]'' (2001)
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''[[Exits and Entrances]]'' (2004)
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''[[Booitjie and the Oubaas]]'' (2006)
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''[[Visions]]'' (2007)
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''[[Dreams]]'' (2007)
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''[[Victory]]'' (2007)
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''[[Coming Home]]'' (2009)
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''[[Have You Seen Us?]]'' (2009)
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''[[The Train Driver]]'' (2010)
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''[[The Bird Watchers]]'' (2011)
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''[[The Blue Iris]]'' (2012)
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''[[Die Laaste Karretjiegraf]]'' (with [[Riana Steyn]]) (2013)
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''[[The Shadow of the Hummingbird]]'' (with a Prelude by [[Paula Fourie]], 2014)
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''[[The Painted Rocks at Revolver Creek]]'' (2015)
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''[[Concerning the Life of Babyboy Kleintjies]]'' (with [[Paula Fourie]]) (2020)
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=== Screenplays (Television & Film) ===
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''[[The Occupation]]'' (1964)
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''[[Mille Miglia]]'' (1968)
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''[[The Guest]]'' (with [[Ross Devenish]]) (1977)
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''[[Marigolds in August]]'' (with [[Ross Devenish]]) (1980)
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=== Other works ===
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''[[Tsotsi]]'' (a novel, published 1980)
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''[[Notebooks: 1960-77]]'' (edited by [[Mary Benson]], published in 1983)
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''[[Cousins: A Memoir]]'' (published 1994)
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''[[A Karoo Directory]]'' (a collection of short stories, 2004)/''[[Karoo and other stories]]'' (2005).
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''[[Dry Remains]]'' (a novel with [[Paula Fourie]], published 2023)
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== Fugard in translation ==
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=== Afrikaans ===
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Despite the fact that many of his characters are [[Afrikaans]]-speaking South Africans, and many commentators over the years have emphasized the fact that the characters beg to speak the language, he wrote only one play directly in it, namely  ''[[Die Laaste Karretjiegraf]]'' ([[Fugard Theatre]], 2013).
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However, a number of his plays have been translated into [[Afrikaans]], including ''[[Hello and Goodbye]]'' as ''[[Hallo en Koebaai]]''); ''[[People are Living There]]'' (as ''[[Daar Leef Mense Daar]]'') ; ''[[Blood Knot]]'' as ''[[Bloedbroers]]''; ''[[The Captain's Tiger]]'' (as ''[[Die Kaptein se Tier]]'' [[Fugard Theatre]], 2011); ''[[Playland]]'' ([[Fugard Theatre]], 2014); ''[[Valley Song]]'' as ''[[Lied van die Vallei]]'' ("song of the valley").
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=== Other languages ===
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His play ''[[Exits and Entrances]]'' was translated into Spanish by Jose C. Nobrega Correia, entitled ''Salidas y entradas'' and performed during the 2006 La Mar de Musicas festival in Spain.
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== Adaptations ==
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1991: A film adaptation of Fugard's play ''[[The Road to Mecca]]'' starring Fugard, [[Yvonne Bryceland]] and Kathy Bates was released in 1991. Directed by Fugard and [[Peter Goldsmid]], with a screenplay by [[Peter Goldsmid]].
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2000: A film adaptation of Fugard's play ''[[Boesman and Lena]]'', starring Danny Glover and Angela Bassett. Adapted and directed by John Berry.
 +
 
 +
2005: An opera version of Fugard's play ''[[Valley Song]]'' was produced by [[Cape Town Opera]] at [[Spier]] in 2005, with music by [[Thomas Rajna]] and libretto by [[Guy Willoughby]].
 +
 
 +
2005: A film adaptation of Fugard's novel ''[[Tsotsi]]'' was released in 2005. The screenplay was written and directed by [[Gavin Hood]], and won the 2006 Academy Award for Best Foreign Language Film.
 +
 
 +
2010: A film adaptation of Fugard's play ''[[Master Harold ... and the boys]]'' was released in 2010, starring Ving Rhames, Freddie Highmore and [[Patrick Mofokeng]], with a screenplay by [[Nicky Rebelo]] and directed by Lonny Price.
 +
 
 +
2018: A musical adaptation of Fugard's novel ''[[Tsotsi]]'', staged as ''[[Tsotsi the Musical]]'' by [[Cape Town Opera]] in 2018, with music by [[Zwai Bala]] and book and lyrics by [[Mkhululi Mabija]].
 +
 
 +
==Fugard as actor and/or director==
 +
 
 +
Besides his own works for stage and film, many of which he both directed and performed in, he has also performed in and directed works by other writers.
 +
 
 +
===As actor===
 +
 
 +
Theatre:
 +
 
 +
Fugard appeared in several of the first productions of his plays. His roles include: "Higgins" in ''[[No-Good Friday]]'' (1958); "Morris" in ''[[The Blood Knot]]'' (1961); "Johnnie" in ''[[Hello and Goodbye]]'' (1965); "Boesman" in ''[[Boesman and Lena]]'' (1969); "Don" in ''[[People are Living There]]'' (1969); "Pavel" in ''[[A Place with the Pigs, A Personal Parable|A Place with the Pigs]]'' (1987); "The Author/Buks" in ''[[Valley Song]]'' (1995); "The Author/The Tiger" in ''[[The Captain's Tiger]]'' (1997); "Oupa" in ''[[The Shadow of the Hummingbird]]'' (2014).
 +
 
 +
Film:
 +
 
 +
He appeared in: ''[[Boesman and Lena]]'' (as "Boesman", 1973); ''[[The Guest]]'' (as "Eugene Marais", 1977); Peter Brook's ''Meetings with Remarkable Men''[https://en.wikipedia.org/wiki/Meetings_with_Remarkable_Men_(film)] (as "Professor Skridlov", 1979); ''[[Marigolds in August]]'' (as "Paulus", 1980); Richard Attenborough’s ''[[Gandhi]]''[https://en.wikipedia.org/wiki/Gandhi_(film)] (as "General Jan Smuts", 1982); Roland Joffé’s ''The Killing Fields''[https://en.wikipedia.org/wiki/The_Killing_Fields_(film)] (as "Dr Sundesval", 1984); ''[[The Road to Mecca]]'' (as "Marius", 1991).
 +
 
 +
===As director===
 +
 
 +
Theatre:
 +
 
 +
Fugard has directed several productions of his own plays, including ''[[The Blood Knot]]'' (1961), ''[[Boesman and Lena]]'' (1969), ''[[Orestes]]'' (1971), ''[[Sizwe Bansi is Dead]]'' (1972), ''[[The Island]]'' (1973), ''[[Statements After an Arrest Under the Immorality Act]]'' (1972) (1974), ''[[Dimetos]]'' (1975), ''[[Master Harold ... and the boys]]'' (1982), ''[[The Road to Mecca]]'' (1985), ''[[A Place with the Pigs, A Personal Parable|A Place with the Pigs]]'' (1987), ''[[My Children! My Africa!]]'' (1989), ''[[Playland]]'' (1992), ''[[Valley Song]]'' (1995), ''[[The Captain's Tiger]]'' (with Susan Hilferty, 1997), ''[[The Painted Rocks at Revolver Creek]]'' (2015).
 +
 
 +
He has directed works by other writers, including McDonald's translation of ''[[Antigone]]'' (in Cork and Listowel, Ireland, 1999)
 +
 
 +
Film:
 +
 
 +
1991: Fugard co-directed the film adaptation of ''[[The Road to Mecca]]'' with [[Peter Goldsmid]].
 +
 
 +
== Awards and honours ==
 +
 
 +
Highly regarded as a playwright, both nationally and internationally, ''inter alia'' and acknowledged by William A. Henry in ''[[Time]]'' magazine in 1985 to be the "greatest active playwright in the English-speaking world".
 +
 
 +
Fugard's play ''[[Master Harold ... and the boys]]'' is considered one of the top 100 plays of the 20th century (''TimeOut'' Best Plays of All Time; ''Entertainment Weekly'').
 +
 
 +
In recognition of this Fugard's work has received numerous awards all over the world, including a number of Tony awards on Broadway and in the Drama Desk Award and Outer Critic’s Circle award for ''[[Master Harold ... and the boys]]'' (Best Play of 1982).
 +
 
 +
The many South African awards over the past years include [[Three Leaf Awards]], [[Fleur du Cap Theatre Awards]], and [[Vita Awards]].
 +
 
 +
In February 2010, The [[Fugard Theatre]], also known as [[The Fugard]], was opened in the District Six area of Cape Town as an artistic producing and receiving house. Following the Covid-pandemic, the venue closed permanently in March 2021.
 +
 
 +
=== Honorary Doctorates ===
 +
 
 +
Fugard has honorary doctorates from a number of universities, including Yale University (1983),  [[Rhodes University]] (1983), the [[University of Cape Town]] (1984), Georgetown University (1984), Wittenberg University (1992),  [[University of the Witwatersrand]] (1993), Brown University (1995), Princeton University (1998), [[University of Stellenbosch]] (2006).
 +
 
 +
=== Lifetime Achievement Awards ===
 +
 
 +
In 1998, he received South Africa’s [[Vita Awards|Vita Award for Lifetime Achievement]]
 +
 
 +
In 2000, the [[Fleur du Cap Theatre Awards|Fleur du Cap Lifetime Achievement Award]]
 +
 
 +
In 2001, he was inducted into the American Theatre Hall of Fame
 +
 
 +
In 2005, he was awarded [[The Order of Ikhamanga]] in Silver "for his excellent contribution and achievements in the theatre".
 +
 
 +
In 2011, he received a Tony Award for Lifetime Achievement in Theatre.
 +
 
 +
He is also a fellow of the British Royal Society of Literature (1986) and a member of the American Academy of Arts and Letters (1988).
 +
 
 +
== Documentary material on Fugard ==
 +
 
 +
In 1998 his original papers were deposited at the Lilly Library at the University of Indiana,  while an extensive archive can be also consulted at [[National English Literary Museum]] ([[NELM]]) in Grahamstown.
 +
 
 +
There are a large number of interviews and documentary films on Fugard and his work.
 +
 
 
[MMcD; TH, SH]
 
[MMcD; TH, SH]
  
 
== Sources ==
 
== Sources ==
  
−
[[Russel Vandenbroucke|Vandenbroucke]], 1986; [[Stephen Gray|Gray]], 1982; [[Temple Hauptfleisch|Hauptfleisch]] et al, 1982; Read, 1991; [[Dennis Walder|Walder]], 1984; [[Mary Benson|Benson]], 1997; [[Albert Wertheim|Wertheim]], 200*;  [[Marianne McDonald|McDonald]], 2005*. [[Percy Tucker|Tucker]], 1997
+
https://en.wikipedia.org/wiki/Athol_Fugard
 +
 
 +
http://www.atholfugard.com/
 +
 
 +
Deborah Cowley 1990. [[Athol Fugard]]'s Voice of Conscience. ''Reader's Digest'' December 1990: pp. 41-46.
 +
 
 +
[[Russel Vandenbroucke|Vandenbroucke, Russel]]. 1986. ''Truths the Hand Can Touch: The Theatre of Athol Fugard''. Theatre Communications Group
 +
[[Stephen Gray]], 1982;  
 +
 
 +
[[Temple Hauptfleisch]], [[Wilma Viljoen]] and [[Celeste van Greunen]]. 1982. ''Athol Fugard: A Source Guide'' Johannesburg: [[Ad Donker]], 
 +
 
 +
[[Temple Hauptfleisch]] and [[Ian Steadman]] (eds) 1984. ''South African Theatre - Four plays and an Introduction'': Pretoria: [[De Jager-HAUM]],
 +
 
 +
[[Temple Hauptfleisch]]. 1997. ''Theatre and Society in South Africa: Reflections in a Fractured Mirror'' ([[J.L. van Schaik]], 1997),
 +
 
 +
[[John Read]], 1991;  
 +
 
 +
[[Dennis Walder]], 1984;  
 +
 
 +
[[Beeld]], 12 August 1995.
 +
 
 +
[[Dennis Walder]],  2015. "Athol Fugard" in [[Martin Middeke]], [[Peter Paul Schnierer]] and [[Greg Homann]] (editors). ''[[The Methuen Drama Guide to Contemporary South African Theatre]]''. London: Bloomsbury Publishing.
 +
 
 +
[[Mary Benson|Benson]], 1997;  
 +
 
 +
[[Albert Wertheim]], 2000;   
 +
 
 +
[[Marisa Keuris|Keuris, Marisa]] 2010. Between languages: [[Athol Fugard]] and/in [[Afrikaans]]. ''[[Journal of Literary Studies]]'', 26(3).
 +
 
 +
[[Marianne McDonald]], 2012.  
 +
 
 +
[[Percy Tucker]], 1997
 +
 
 +
http://www.iainfisher.com/fugard/fugard-study.html
 +
 
 +
''Encyclopaedia Britannica'' [https://global.britannica.com/biography/Athol-Fugard]
 +
 
 +
'Rajna's new opera at Spier'. ''[[UCT News]]'', 7 March 2005.
 +
 
 +
'Athol Fugard', [[IMDb]]. https://www.imdb.com/name/nm0297538/
 +
 
 +
Henry, William A III[https://en.wikipedia.org/wiki/William_A._Henry_III]. 1985. [[Athol Fugard]] in ''[[Time]]'', 30 September.
 +
 
 +
Henry, William A III[https://en.wikipedia.org/wiki/William_A._Henry_III]. 1994. Home is where the Art is: South African dissident [[Athol Fugard]] happily loses his great theme and sets his sights on a post-apartheid world. ''TIME Magazine'', March 21, 1994:20.
 +
 
 +
McDonald, M. 2008. 'Afterword' in Fugard's ''Exits and Entrances''. Theatre Communications Group: New York.
  
−
Go to [[South African Theatre/Bibliography]]
+
Go to [[ESAT Bibliography]]
  
 
== Return to ==
 
== Return to ==
  
−
Return to [[ESAT Personalities A]]
+
Return to [[ESAT Personalities F]]
  
 
Return to [[South_African_Theatre/Personalities|South African Theatre Personalities]]
 
Return to [[South_African_Theatre/Personalities|South African Theatre Personalities]]

Latest revision as of 17:25, 21 January 2024

Harold Athol Lanigan Fugard (1932- ) is an internationally-renowned South African playwright, novelist, actor, and director.

Highly regarded nationally and internationally, Fugard was referred to as 'the greatest active playwright' writing in English in the 1980s, and was voted one of the top 100 playwrights of the 20th century.

An influential figure in South African theatre for more than 50 years, Fugard created serious and authentic theatre in South Africa with plays that trace the history of the country from the early days of apartheid to the years following the liberation and inspired a number of other writers, directors and performers.

He was also involved in the creation of an alternative infrastructure for South African theatre through his involvement with a range of companies and theatre venues, including the Space Theatre, the Serpent Players, The Rehearsal Room at Dorkay House, the Market Theatre, the Baxter Theatre and the Fugard Theatre in Cape Town.

Biography

Born Harold Athol Lanigan Fugard in Middelburg, Great Karoo, Cape Province, South Africa, on 11 June 1932. His mother (Elizabeth Magdalena Katerina Potgieter) was an Afrikaner and his father (Harold David Lanigan Fugard) was primarily of English, Huguenot, and Irish ancestry. In 1935, his family moved to Port Elizabeth where Fugard’s mother ran the Jubilee Boarding House and later (in 1942) the St George’s Park Tea Room (the setting and inspiration for his autobiographical play "Master Harold" ... and the boys). Fugard's father was a pianist and an alcoholic who was crippled in an accident and who died when Fugard was 29.

In 1956, he married actress and novelist Sheila Meiring (Sheila Fugard), and in 1961 his only daughter, Lisa Fugard, was born, and in 2003 his grandson, Gavyn. Fugard and Meiring divorced in 2015.

In 2016, he married academic and playwright Paula Fourie.

Education

Fugard attended the Marist Brothers College and the Albert Jackson Primary School. From 1946 to 1950, Fugard attended secondary school at Port Elizabeth Technical College, and from 1951 to 1953 the University of Cape Town (studying philosophy, anthropology, sociology and French). He has always been an avid reader, and although his first scholarship was for motor mechanics, his true avocation was for philosophy and literature (the works of Faulkner and the existentialists, particularly Camus). Before finishing his degree, Fugard left the university to hitchhike up Africa with Perseus Adams for six months. He ended up sailing around the world on a tramp steamer (the S.S. Graigaur), returning to South Africa in 1954. While travelling, he worked on a novel, later abandoned (thrown into the sea at Fiji, and referred to in The Captain's Tiger).

Port Elizabeth and Cape Town (1955-1957)

At first Fugard wrote freelance articles for the Evening Post in Port Elizabeth, then worked for the SABC as reporter in Port Elizabeth and later in Seapoint in Cape Town (1955-1957), where he met the actress Sheila Meiring, who introduced him to theatre as a medium in Cape Town. He did some acting, playing Laius in André Huguenet's production of Oedipus Rex (1956) for example, and began his career as playwright by writing for the Circle Players, an experimental group which he and Sheila had started. Among the works were The Cell and Klaas and the Devil, one-act plays that he later destroyed.

Johannesburg (1958-1959)

In 1958, the Fugards moved to Johannesburg, where he worked for six months as a clerk in the Fordsburg Native Commissioner’s Court - pass-law offenders were tried this court. He left that job and became a stage manager for the National Theatre Organisation's Kamertoneel in 1958, working on the first production of N.P. van Wyk Louw's Germanicus, James Ambrose Brown's Seven against the Sun, Bartho Smit's Moeder Hanna and other plays. The Belgian director Tone Brulin was among those he met at the time and took to see the first production of his play No-Good Friday which he was doing with the Africa Theatre Workshop (which the Fugards had started) in Sophiatown. At this time, Fugard had met a remarkable group of artists and writers, including Bloke Modisane, Can Temba, Nat Nakasa, Lewis Nkosi and Zakes Mokae. In 1959, Fugard directed the premiére of Nongogo.

England and Belgium (1960)

In 1960, the Fugards went to England, where he tried to get into theatre, but failed, then went on to Belgium, to form the New Africa Theatre Group in Brussels with Tone Brulin, David Herbert and Clive Farrel. He acted in Herbert's A Kakamas Greek and directed Brulin's anti-apartheid play De Honden. During this time abroad, Fugard began to keep a notebook, something he continued during his career, stockpiling observations, incidents and ideas that he would revisit in his later works.

Return to South Africa (1961) and the Serpent Players

On his return to the country in 1961, Fugard completed and directed The Blood Knot and in 1962 worked for a while at Dorkay House, managing in The Rehearsal Room, before returning to Port Elizabeth in November 1963 and settling and settling at Schoenmakerskop in 1964. In Port Elizabeth, he helped found the Serpent Players, working with people like John Kani and Winston Ntshona. They began by performing European classics (La Mandragola/The Cure, Woyzeck, Antigone) and works by Beckett and Soyinka, but gradually moved on to creating new plays based on their experiences, such as The Coat.

Fugard's earlier work in Europe was to affect his relationship with the South African government strongly. His work and associations in Europe, taken in conjunction with his own anti-apartheid writing in the 1960s - and with his initiation of an international playwright's boycott of South Africa in 1963 - , led to his passport being taken from him in 1967 ('for reasons of state safety and security', the day after The Blood Knot aired on British television), and was only returned in 1971, following a public petition. McDonald suggests that the confiscation of Fugard's passport was an attempt to coerce Fugard to leave South Africa with no opportunity for return.

While still writing his own work, Fugard at this time also experimented with the workshop process in order to co-create key works such as The Coat (1966), Sizwe Bansi is Dead (1972) and The Island (1973) with John Kani, Winston Ntshona and other members of the Serpent Players.

Cape Town and The Space Theatre (1971 - )

Fugard was invited to "create" a work for CAPAB's Theatre Laboratory in Cape Town, the result being Orestes (1971), featuring Yvonne Bryceland. This production of Orestes is credited by Brian Astbury (1979) as the catalyst to the founding of the Space Theatre in Cape Town in 1972. Fugard was closely involved in the formation of the Space Theatre, together with Brian Astbury and Yvonne Bryceland. A number of Fugard's plays were to be done at the new venue, including Statements After an Arrest Under the Immorality Act (which opened the theatre on 28 May 1972), Die Hodoshe Span (The Island), Dimetos, Drivers, Hello and Goodbye, Nongogo, People are Living There, Sizwe Bansi is Dead. Fugard also directed The Terrorists for The Space.

In 1972 the Fugards purchased two houses, one in Nieu Bethesda and another in Sardinia Bay, near Port Elizabeth, and Fugard settled down to what was to be his most productive period of his career, writing and working with the leading managers, directors and performers in the country, including a lifelong association with people such as Yvonne Bryceland, Brian Astbury, Barney Simon, Mannie Manim, John Kani, Zakes Mokae, Bill Flynn, Marius Weyers, and many others.

The 1980s and the USA

In the 1980s, as his work became widely performed and studied in the Europe and the USA, and his own reputation as writer grew, Fugard began working closely with American producers, spending extensive periods as writer in residence at Yale University for instance. Most of his plays now premiéred in the United States, then opened at the Market Theatre in South Africa. In 1989, My Children! My Africa! was the first Fugard play to have its premiere in South Africa in eleven years.

The 1990s

In 1990, Fugard purchased a second house in Nieu Bethesda, and began to live there for part of the year, and the rest in Del Mar, California. In this period he had begun to work closely with academic and writer Marianne McDonald, who would later write a biography of the playwright.

At this time, Fugard's work reflected the shifts that were happening within South African society and politics. Playland (1992) examines some of the obstacles South Africans would have to overcome before reconciliation, and My Life (1994) was created with young South Africans about to enter adulthood in a South African society that itself was transforming.

The new millennium

Fugard's first production for the new millennium (Sorrows and Rejoicings, 2001) is also his first written outside South Africa, and the play itself is about exile.

In 2012, Fugard became an artist in residence at the Stellenbosch Institute for Advanced Study (STIAS)[1] in Stellenbosch, among other projects writing his first plays in Afrikaans there. He met Paula Fourie there and he began working on a number of joint projects with her, both theatrical and biographical. He subsequently married her and they settled in Stellenbosch.

Fugard as writer

Fugard has written plays, screenplays, novels, a memoir and a collection of short stories. His notebooks have also been published.

Plays

Above anything else Fugard is a playwright, one with a distinctive and influential style and way of working. Ultilizing basic realism and a simple set, his highly verbal texts focus on a few, clearly delineated and distinctive characters at a critical moment in their lives. The first productions also epitomized Fugard's own theatrical involvement over the years. He would first write the text alone in his study, then go to work on it as director of the first production - often playing one of the roles as well. This pattern would be followed for much of his life. It was only in 2000 that he made a decision to concentrate on playwriting and tell the stories that needed telling.

Fugard has been a prolific play-maker (writing, collaborating, devising) since the 1950s. His works include:

Klaas and the Devil (195?)

The Cell (1956)

No-Good Friday (1958)

Nongogo (1959)

The Blood Knot (1961, revised as Blood Knot, 1976 & 1985)

Hello and Goodbye (1965)

The Coat (with the Serpent Players, 1966)

People are Living There (1968)

Boesman and Lena (1969)

Orestes (1971)

Statements After an Arrest Under the Immorality Act (1972)

Sizwe Bansi is Dead (with John Kani and Winston Ntshona, 1972)

The Island (with John Kani and Winston Ntshona, 1973)

Dimetos (1975)

A Lesson from Aloes (1978)

The Drummer (1980)

Master Harold ... and the boys (1982)

The Road to Mecca (1984)

A Place with the Pigs (1987)

My Children! My Africa! (1989)

Playland (1992)

My Life (with Sivagamy Govender, Riana Jacobs, Heather Leite, Reshoketswe Maredi and Elleanor Busi Mthumunye, 1994)

Valley Song (1995)

The Captain’s Tiger: A Memoir for the Stage (1997)

The Abbess (2000)

Sorrows and Rejoicings (2001)

Exits and Entrances (2004)

Booitjie and the Oubaas (2006)

Visions (2007)

Dreams (2007)

Victory (2007)

Coming Home (2009)

Have You Seen Us? (2009)

The Train Driver (2010)

The Bird Watchers (2011)

The Blue Iris (2012)

Die Laaste Karretjiegraf (with Riana Steyn) (2013)

The Shadow of the Hummingbird (with a Prelude by Paula Fourie, 2014)

The Painted Rocks at Revolver Creek (2015)

Concerning the Life of Babyboy Kleintjies (with Paula Fourie) (2020)

Screenplays (Television & Film)

The Occupation (1964)

Mille Miglia (1968)

The Guest (with Ross Devenish) (1977)

Marigolds in August (with Ross Devenish) (1980)

Other works

Tsotsi (a novel, published 1980)

Notebooks: 1960-77 (edited by Mary Benson, published in 1983)

Cousins: A Memoir (published 1994)

A Karoo Directory (a collection of short stories, 2004)/Karoo and other stories (2005).

Dry Remains (a novel with Paula Fourie, published 2023)

Fugard in translation

Afrikaans

Despite the fact that many of his characters are Afrikaans-speaking South Africans, and many commentators over the years have emphasized the fact that the characters beg to speak the language, he wrote only one play directly in it, namely Die Laaste Karretjiegraf (Fugard Theatre, 2013).

However, a number of his plays have been translated into Afrikaans, including Hello and Goodbye as Hallo en Koebaai); People are Living There (as Daar Leef Mense Daar) ; Blood Knot as Bloedbroers; The Captain's Tiger (as Die Kaptein se Tier Fugard Theatre, 2011); Playland (Fugard Theatre, 2014); Valley Song as Lied van die Vallei ("song of the valley").

Other languages

His play Exits and Entrances was translated into Spanish by Jose C. Nobrega Correia, entitled Salidas y entradas and performed during the 2006 La Mar de Musicas festival in Spain.

Adaptations

1991: A film adaptation of Fugard's play The Road to Mecca starring Fugard, Yvonne Bryceland and Kathy Bates was released in 1991. Directed by Fugard and Peter Goldsmid, with a screenplay by Peter Goldsmid.

2000: A film adaptation of Fugard's play Boesman and Lena, starring Danny Glover and Angela Bassett. Adapted and directed by John Berry.

2005: An opera version of Fugard's play Valley Song was produced by Cape Town Opera at Spier in 2005, with music by Thomas Rajna and libretto by Guy Willoughby.

2005: A film adaptation of Fugard's novel Tsotsi was released in 2005. The screenplay was written and directed by Gavin Hood, and won the 2006 Academy Award for Best Foreign Language Film.

2010: A film adaptation of Fugard's play Master Harold ... and the boys was released in 2010, starring Ving Rhames, Freddie Highmore and Patrick Mofokeng, with a screenplay by Nicky Rebelo and directed by Lonny Price.

2018: A musical adaptation of Fugard's novel Tsotsi, staged as Tsotsi the Musical by Cape Town Opera in 2018, with music by Zwai Bala and book and lyrics by Mkhululi Mabija.

Fugard as actor and/or director

Besides his own works for stage and film, many of which he both directed and performed in, he has also performed in and directed works by other writers.

As actor

Theatre:

Fugard appeared in several of the first productions of his plays. His roles include: "Higgins" in No-Good Friday (1958); "Morris" in The Blood Knot (1961); "Johnnie" in Hello and Goodbye (1965); "Boesman" in Boesman and Lena (1969); "Don" in People are Living There (1969); "Pavel" in A Place with the Pigs (1987); "The Author/Buks" in Valley Song (1995); "The Author/The Tiger" in The Captain's Tiger (1997); "Oupa" in The Shadow of the Hummingbird (2014).

Film:

He appeared in: Boesman and Lena (as "Boesman", 1973); The Guest (as "Eugene Marais", 1977); Peter Brook's Meetings with Remarkable Men[2] (as "Professor Skridlov", 1979); Marigolds in August (as "Paulus", 1980); Richard Attenborough’s Gandhi[3] (as "General Jan Smuts", 1982); Roland Joffé’s The Killing Fields[4] (as "Dr Sundesval", 1984); The Road to Mecca (as "Marius", 1991).

As director

Theatre:

Fugard has directed several productions of his own plays, including The Blood Knot (1961), Boesman and Lena (1969), Orestes (1971), Sizwe Bansi is Dead (1972), The Island (1973), Statements After an Arrest Under the Immorality Act (1972) (1974), Dimetos (1975), Master Harold ... and the boys (1982), The Road to Mecca (1985), A Place with the Pigs (1987), My Children! My Africa! (1989), Playland (1992), Valley Song (1995), The Captain's Tiger (with Susan Hilferty, 1997), The Painted Rocks at Revolver Creek (2015).

He has directed works by other writers, including McDonald's translation of Antigone (in Cork and Listowel, Ireland, 1999)

Film:

1991: Fugard co-directed the film adaptation of The Road to Mecca with Peter Goldsmid.

Awards and honours

Highly regarded as a playwright, both nationally and internationally, inter alia and acknowledged by William A. Henry in Time magazine in 1985 to be the "greatest active playwright in the English-speaking world".

Fugard's play Master Harold ... and the boys is considered one of the top 100 plays of the 20th century (TimeOut Best Plays of All Time; Entertainment Weekly).

In recognition of this Fugard's work has received numerous awards all over the world, including a number of Tony awards on Broadway and in the Drama Desk Award and Outer Critic’s Circle award for Master Harold ... and the boys (Best Play of 1982).

The many South African awards over the past years include Three Leaf Awards, Fleur du Cap Theatre Awards, and Vita Awards.

In February 2010, The Fugard Theatre, also known as The Fugard, was opened in the District Six area of Cape Town as an artistic producing and receiving house. Following the Covid-pandemic, the venue closed permanently in March 2021.

Honorary Doctorates

Fugard has honorary doctorates from a number of universities, including Yale University (1983), Rhodes University (1983), the University of Cape Town (1984), Georgetown University (1984), Wittenberg University (1992), University of the Witwatersrand (1993), Brown University (1995), Princeton University (1998), University of Stellenbosch (2006).

Lifetime Achievement Awards

In 1998, he received South Africa’s Vita Award for Lifetime Achievement

In 2000, the Fleur du Cap Lifetime Achievement Award

In 2001, he was inducted into the American Theatre Hall of Fame

In 2005, he was awarded The Order of Ikhamanga in Silver "for his excellent contribution and achievements in the theatre".

In 2011, he received a Tony Award for Lifetime Achievement in Theatre.

He is also a fellow of the British Royal Society of Literature (1986) and a member of the American Academy of Arts and Letters (1988).

Documentary material on Fugard

In 1998 his original papers were deposited at the Lilly Library at the University of Indiana, while an extensive archive can be also consulted at National English Literary Museum (NELM) in Grahamstown.

There are a large number of interviews and documentary films on Fugard and his work.

[MMcD; TH, SH]

Sources

https://en.wikipedia.org/wiki/Athol_Fugard

http://www.atholfugard.com/

Deborah Cowley 1990. Athol Fugard's Voice of Conscience. Reader's Digest December 1990: pp. 41-46.

Vandenbroucke, Russel. 1986. Truths the Hand Can Touch: The Theatre of Athol Fugard. Theatre Communications Group Stephen Gray, 1982;

Temple Hauptfleisch, Wilma Viljoen and Celeste van Greunen. 1982. Athol Fugard: A Source Guide Johannesburg: Ad Donker,

Temple Hauptfleisch and Ian Steadman (eds) 1984. South African Theatre - Four plays and an Introduction: Pretoria: De Jager-HAUM,

Temple Hauptfleisch. 1997. Theatre and Society in South Africa: Reflections in a Fractured Mirror (J.L. van Schaik, 1997),

John Read, 1991;

Dennis Walder, 1984;

Beeld, 12 August 1995.

Dennis Walder, 2015. "Athol Fugard" in Martin Middeke, Peter Paul Schnierer and Greg Homann (editors). The Methuen Drama Guide to Contemporary South African Theatre. London: Bloomsbury Publishing.

Benson, 1997;

Albert Wertheim, 2000;

Keuris, Marisa 2010. Between languages: Athol Fugard and/in Afrikaans. Journal of Literary Studies, 26(3).

Marianne McDonald, 2012.

Percy Tucker, 1997

http://www.iainfisher.com/fugard/fugard-study.html

Encyclopaedia Britannica [5]

'Rajna's new opera at Spier'. UCT News, 7 March 2005.

'Athol Fugard', IMDb. https://www.imdb.com/name/nm0297538/

Henry, William A III[6]. 1985. Athol Fugard in Time, 30 September.

Henry, William A III[7]. 1994. Home is where the Art is: South African dissident Athol Fugard happily loses his great theme and sets his sights on a post-apartheid world. TIME Magazine, March 21, 1994:20.

McDonald, M. 2008. 'Afterword' in Fugard's Exits and Entrances. Theatre Communications Group: New York.

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