A Lesson from Aloes

A Lesson from Aloes PDF Ì A Lesson  PDF \
  • Paperback
  • 96
  • A Lesson from Aloes
  • Athol Fugard
  • English
  • 17 May 2019
  • 1559360011

About the Author: Athol Fugard

A Lesson from Aloes PDF Ì A Lesson PDF \ lesson kindle, from ebok, aloes pdf, A Lesson ebok, A Lesson from AloesA Lesson from Aloes PDF Harold Athol Lannigan Fugard b June , , 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 writersAthol 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 , he was enrolled at the Marist Brothers College a Catholic primary school although he is not known to A Lesson PDF \ 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 EastFugard married Sheila Meiring, now known as Sheila Fugard, then an actress in one of his plays, in September 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 clerkWorking 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 apartheidWorking with a group of black actors including Zakes Mokae , Fugard wrote his first play No Good Friday Returning to Port Elizabeth in the early s, he worked with a group of actors whose first performance was in the former snake pit of the zoo, hence the name The Serpent PlayersThe 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to avoid prosecution, he started to take his plays overseas After Blood Knot, was produced in England, his passport was withdrawn for four years In , he publicly supported an international boycott against segregated theatre audiences which led to further restrictionsHe worked extensively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 ActThe 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 notFor 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 entitySets and props were improvised from whatever was available which helps to explain the minimalist sets that productions of these plays utilise In , the restrictions against Fugard were eased, allowing him to travel to England in order to direct Boesman and Lena Master Haroldand the Boys, written in is a semi autobiographical workFugard 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 issuesHis plays are regularly produced and have won many awa.


A Lesson from AloesA Lesson from Aloes PDF Ì A Lesson PDF \ lesson kindle, from ebok, aloes pdf, A Lesson ebok, A Lesson from AloesA Lesson from Aloes PDF Two former political activists confront each other and the events which led to their sudden falling out years ago.

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10 thoughts on “A Lesson from Aloes

  1. James F says:

    After reading several plays of Wole Soyinka, I continued my reading in African Literature with the second best known African playwright, Athol Fugard of South Africa Actually, Fugard may be the better known in the U.S., or at least theoften performed he s certainlyaccessible in that his realist style requires less background than the ritualist style of Soyinka In fact, as far as I can remember he is the only African playwright I have actually seen a play by Master Harold and theAfter reading several plays of Wole Soyinka, I continued my reading in African Literature with the second best known African playwright, Athol Fugard of South Africa Actually, Fugard may be the better known in the U.S., or at least theoften performed he s certainlyaccessible in that his realist style requires less background than the ritualist style of Soyinka In fact, as far as I can remember he is the only African playwright I have actually seen a play by Master Harold and the Boys, in Portland about twenty years ago I read three of his early one act plays from the sixties last October I am starting again with hisrecent plays A Lesson From Aloes is a two act play first performed in 1979 The earlier plays I read were very political, but indirectly they showed apartheid through its effects on the ordinary life of nonpolitical people This play wasdirectly political, dealing with two activists, one Afrikaner and one Coloured, and the English South African wife of the Afrikaner All of his plays I have read seem limited to two or at most three characters, perhaps because of the conditions under which they had to be performed under the apartheid regime The play is very powerful The aloes of the title are a symbol of survival as the publisher s description says, the three ways of survival in South Africa were isolation, madness, or exile I can t saythan this without spoilers and I would suggest not reading the introduction first, because it reveals much of the plot, in describing the actual situation which was dramatized in the play It was based on a true story, with only the last names changed

  2. Steven says:

    The trauma and guilt of those who survived Apartheid.

  3. Rhiannon says:

    My new favorite Athol Fugard Gorgeous.

  4. Heda Wang says:

    I was introduced to it by videos on the Julliard Open Studio It is a wonderful play Although the days of apartheid is history, the play still has its realistic power.

  5. Bobby Sullivan says:

    One of those starts placid then the secrets start unraveling stories Well done.