Athol Fugard - Böcker

The four plays in this edition of Athol Fugard's best work are set among the people and in the place he knows most intimately - Port Elizabeth, South Africa, where he grew up. Each explores a close and tense family situation or relationship against the background of wider suffering and tensions, engaging our sympathies for South Africans of all races in their struggle to retain dignity and hope.

The five plays collected here offer a unique insight into the role of theatre in a situation of oppression. They were produced in close collaboration with their original black amateur casts, drawing on their lives and everyday experiences in the townships. They range from the early apprentice work of the brash but vital Sophiatown plays, No-Good Friday and Nongogo, to the freer, more urgent, and profound New Brighton plays, including the most famous Sizwe Bansi is Dead and The Island, and the previously unavailable The Coat.

A play which tells a gentle story of how the generations cope with the end of apartheid in South Africa. A young women wants to leave home to begin to lead her own life, but her grandfather takes this as an insult to his way of life and everything he has worked for.

Roelf, a train driver, has spent weeks searching for the identities of a mother and child he unintentionally killed with his train. After a fruitless journey through shanty towns, he encounters an old gravedigger named Simon who helps the desperate man unburden his conscience. Based on a true story, The Train Driver is a soulful exploration of guilt, suffering, and the powerful bonds that grow between strangers.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

The power of theatrical performance is universal, but the style and concerns of theatre are specific to individual cultures. This volume in the Global Theatre Perspectives series presents a reconstructed ancient performance text, four one-act indigenous African plays and five modern dramas from various regions of Africa and the Caribbean Diaspora. Because these plays span centuries and are the work of artists from diverse cultures, readers can see elements that occur across time and space. Physicalized ritual, direct interaction with spectators, improvisation, music, drumming, and metaphorical animal characters help create the theatrical forms in multiple plays. Recurring themes include the establishment or challenging of political authority, the oppression or corruption of government, societal expectations based on gender, the complex and transformational nature of identity, and the power of dreams. Though each play is its own unique entity, reading them together allows readers to explore what theatrical elements and cultural concerns are perhaps essentially African. The Caribbean plays add further perspective to the questions of what values, theatrical and societal, are part of African drama, how these have influenced the Caribbean aesthetic, and what the relationships are between the old and new world. Among the creators of the pieces are two Nobel Laureates, those who have been exiled or jailed for the political nature of their work, and the author of his country’s first constitution. The volume can serve as the primary text for an intensive semester-long investigation of African drama and culture. But it is also possible to use this volume along with others in the series as texts for a single course on drama from around the world. The global perspectives approach, letting works from ancient, indigenous, and modern times resonate with each other, encourages thinking across boundaries and connective human understanding.

Tsotsi is an angry young gang leader in the South African township of Sophiatown. A man without a past, he exists only to kill and steal. But when he captures a woman one night in a moonlit grove of bluegum trees, she shoves a shoebox into his arms: the box contains a baby and his life is inexorably changed. He begins to remember his childhood and rediscover the self he left behind.Tsotsi's raw power and rare humanity show how decency and compassion can survive against the odds.