A study of Athol Fugard

A study of Athol FugardAthol Fugard, who was born in Middleburg, southwest Africa in 1932, is a headspring known realist jokewright. He has pen m any(prenominal) plays which reflect his extreme resister to the Apartheid organization. Two such plays are Boesman and Lena (1969) and My Children My Africa (1989). Both plays are set in apartheid south-central Africa and demonstrate the ferociousty of those geezerhood in South Africa as well as the current issues surrounding them. Athol Fugards charm in both(prenominal) of these plays is at that placefore a reflection of the meters and society in which he was writing. The plays socio-political contexts and his intentions in them idler be severally discussed as well as compared to each other.Boesman and Lena is set in Apartheid South Africa and is a play near a young, non- unclouded couple who are truly facing difficulties and struggling during this time. The play opens with the couple on a journey, walk means from place to place, afterwards creation forcefully removed from their home. As they are travelling, Lena tries to recount where they have been. They can yet bring the belongings with them that they can afford to carry on their backs and so they are uncovered to the elements around them. Because the couple are homeless, Boesman unflinching that in stage to survive he needs to build a shelter out of scrap iron and other materials that he has found. at once the shelter is built, he is the only angiotensin-converting enzyme to enter it. Lena not only tends the fire but also tends to sit outside of the shelter for the constitutional play. The desperate circumstances that they are in emphasize their l unmatchablely, isolated and impoverished place in the world.Boesman and Lena was written in 1965 which is a mere 17 years after the start of apartheid. The play clearly shows the harshness of this time period relating to the Forced Removals and Group Areas Acts, which were passed by the govern ment in order to draw a line by fully separating racial groups. Boesman and Lena abruptly represent the millions of non- blanks who suffered during Apartheid. The forced removals from homes and dispersal of communities led to social breakdown and general poverty in South Africa. Non-whites were not given the opportunity to genuinely settle down in any environment whatsoever, and this caused them to be low-spirited and feel as if they had no meaning whatsoever in their lives. This hallucination can be noted when Lena is distraught after she has just been forcefully removed from her own home.At the beginning of the play, an old man called Outa appears at their campsite. The style Boesman acts around Outa and shows his feelings towards him show the incredibly racial tensions between the many different non-white groups. Boesman believes he is superior to Outa. He is frustrated by the piazza in South Africa and he vents this frustration on other non-whites. Outa, existence very frail and unresponsive, is an easy target for Boesman, and this is evident in the commission he treats Outa. MtvassBoesman and Lena, as well as their actions, can be taken as symbols. Boesmans furiousness towards Lena represents the violence white South Africans inflict on citizens of twine. Lena represents hope and life. She is optimistic and believes things will change in the future. She is also very compassionate (as with the old man, Outa). Boesman is mostly bitter and jealous, trying to destroy any hope and life that she has.Fugard has recorded many of his ideas in his notebooks. In one entry, Fugard describes that he had many encounters with the poorer South Africans. He notes that these encounters all contributed to the creation of Boesman and Lena. He also reports back on the day he came into contact with a particular muliebrity which influenced him to begin writing the play. He says in Athol Fugard Notebooks 1960-1977 On a hot August day in 1965, Fugard and two friends were impulsive along a rural road when they saw an old woman trudging along with all of her worldly possessions tied up in a bundle on her head. They stopped and offered her a ride. She cried at their unexpected kindness, and during the fifteen-mile hit to a farm up the road, she told them about the death of her husband three days earlier and her nine missing children. If Fugard and his companions hadnt stopped to offer her a ride, she would have followed her plan to sleep in a stormwater drain that calamitous and continue her long journey the next day. E-notes 2010He also gives his smell of the woman. He writes , In that cruel walk under the blazing sun, walking from all of her life that she didnt have on her head, facing the prospect of a bitter Karoo night in a drain-pipe, in this walk there was no defeat-there was pain, and great despicable, but no defeat. Athol Fugard Notebooks 1960-1977. The walk that this woman went on was the walk that Boesman and Lena are on byout the play as it godlike him to come up with this idea in the first place.Because Fugard passionately abhorred apartheid, his intentions in writing this play were to show what was going on in South Africa at the time and to expose the effects of apartheid. He used symbolism-for casing representing the violence white South Africans inflict on citizens of colour through Boesmans violence towards Lena as well as themes. The main theme of Boesman and Lena is violence and cruelty which reflects the state of apartheid at the time. In the 1960s, when the play was written, people of colour had absolutely no power and could not do anything about how they were treated. Basically, in this play, Fugard portrayed severe real situations and displayed the struggling and suffering of the characters and thereby project a true representation of what was going on at this cruel time in South Africa.Fugard wrote My Children My Africa about 20 years after Boesman and Lena was published. At this time, th ere was an immense amount of racial tension and ongoing violence, both within various black communities and violence perpetrated by the white security police and military apparatus. Life was not the same in South Africa as it had previously been in the 60s and things were coming to a head. thither were many anti-apartheid movements and international censure because of this. Although the confrontational violence between the government and forces of liberation had escalated in Apartheid South Africa, the underlying themes of exploitation and human suffering were still the same.As historian Alistair Boddy-Evans summarized During the 1970s and 80s Apartheid was reinvented a result of change magnitude internal and international pressures, and worsening economic difficulties. Black youth was exposed to increasing politicisation, and found expression against Bantu education through the 1976 Soweto Uprising. notwithstanding the creation of a trilateral parliament in 1983 and the abolitio n of the get going Laws in 1986, the 1980s saw the worst political violence by both sides.Boddy-EvansMy Children My Africa is a play which depicts a time when friendship and cooperation crossways the colour line were extremely rare. Such relationships were strictly frowned upon and actively demoralized by apartheid officialdom. This was because they represented a potential threat to the elaborately constructed and legislated racial barriers.In My Children My Africa (an emphatic title indeed) Fugard constructed a very powerful outstanding work which explores the possibility of such interracial connections despite the human and paid risks involved. His thrust is that mere skin colour should in no way be a momentous barrier to friendship and cooperation.The play involves a white schoolgirl and black schoolboy whose teacher must take risks in direct the black boy to a mixed-race team in a literary competition. They have different viewpoints in how to challenge the system. The scho olboy, Thami, has adopted an attitude of vehement confrontation, whereas the teacher is more in favour of a conciliatory and slack approach to change, hoping optimistically that violence can be avoided. The schoolgirl, Isabel is besieged with white liberal guilt.The play reflects varying attitudes to the best approach to achieving inevitable change. As it turned out it was the destabilising threat of violent confrontation that ultimately counted in effecting change in South Africa. The play was in fact written in 1985 foreshadowing the unbanning of the ANC and the subsequent release of Nelson Mandela some 5 years later.Fugard was an active supporter of the Anti apartheid movements and endorsed international boycotts of segregated audience champaign in South Africa. In fact he was vilified, harassed and coif under security police surveillance. To avoid further trouble with the government Fugard had his plays produced and published outside of the country Alan McIver 2010Fugard wa s accorded wide international recognition. His compelling and expansive body of work surely contributed in a significant way to international awareness of the dire developing situation in South Africa. To me he is an inspiring figure, whose realistic depictions of the devastating human consequences of an evil system opened audiences eyes to cruel and unsustainable realities.Fugard once said My real territorial dominion as a dramatist is the world of secrets with their powerful effect on human behaviour and the trauma of their revelation. Whether it is the radiant secret in dud Helens heart or the withering one in Boesmans or the dark and destructive one in Gladys, they are the dynamos that generate all the significant action in my playsFugard. We can gather from this, that his plays are always individually and contextually significant and he intends to display and uncover and bring to informal deeper issues within them. Using the two plays discussed above as evidence , one can n ot only tell that Fugard really cares about his work and his country but also that his work is an accurate reflection of the measure and society in which he was writing.Words 1655