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The Blood Knot The Blood Knot The Blood Knot | 1992 | 0195707591, 9780195707595 | Oxford University Press, South Africa, 1992 | Athol Fugard | A play about two brothers who lose themselves in illusory hopes and dreams. Naive optimism and self-delusion finally give way to self-reflection and consciousness, and the brothers abandon their role-playing and embrace their brotherhood. file download daxupe.pdf An argument between Master Harold, a seventeen-year-old South African, and Sam, the black man employed at Harold's mother's restaurant, makes them reevaluate their friendship | Athol Fugard | 60 pages | "Master Harold"-- and the Boys | ISBN:9780307475206 | 2009 | Drama Knot The Blood Knot pdf file "The novel caused tremendous outrage." So begins Nawal El Saadawi's tenth novel. And indeed, when the famous Egyptian psychiatrist and writer released The Novel in 2005, it was | 2009 | ISBN:1566567327 | The Novel | 236 pages | Fiction | Nawl Sadw, Umnyah Amn STANFORD:36105003774416 | Athol Fugard, John Kani, Winston Ntshona | 79 pages | Drama | May 18, 1976 | Sizwe Bansi is dead and The island Athol Fugard | 1994 | ISBN:057369477X | Playland | 63 pages | South Africa The pdf The Blood Knot download Drama | A Play in Three Acts | ISBN:087129222X | Jimmy Porter plays trumpet badly. He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes | Look Back in Anger | 85 pages | John Osborne | 1959 The Blood Knot pdf South African drama (English) | Athol Fugard | 1989 | 100 pages | ISBN:0573660182 | The Road to Mecca | A Drama in Two Acts The Story of South Africa | 1968 | 272 pages | South Africa | UCAL:$B573156 | Leopold Marquard Drama | 1974 | Athol Fugard, John Kani, Winston Ntshona | 124 pages | "Sizwe Bansi Is Dead reveals the perversities of human identity in a country where a man is equal to his passbook. The Island celebrates the strength of man's connection to man | Statements | ISBN:0930452615 download 1996 | 121 pages | Drama | Seven Guitars | August Wilson | Full Length, Tragic comedy Characters: 4 male, 3 female Exterior Set The sixth in the author's decade by decade exploration of the black experience in America, two of which | ISBN:0573696004 Blood Translations | The action takes place in late August 1833 at a hedge-school in the townland of Baile Beag, an Irish-speaking community in County Donegal. In a nearby field camps a recently | ISBN:0573618712 | A Play | English drama | 1981 | 83 pages | Brian Friel Athol Fugard | 78 pages | ISBN:1559360143 | Drama | "Generational conflict over the most effective means for ending apartheid in South Africa lead to an explosive confrontation between a gifted but impatient black township youth | My Children! My Africa! | 1990 The Blood Knot pdf download Athol Fugard | Valley Song | Domestic drama | 1997 | ISBN:0573626502 | 57 pages Hello and Goodbye | A Play in Two Acts | Athol Fugard | 1971 | 62 pages | Brothers and sisters | ISBN:057361010X THE STORY: The play begins in the present, with the meeting of Emma and Jerry, whose adulterous affair of seven years ended two years earlier. Emma's marriage to Robert, Jerry | Harold Pinter | Betrayal | ISBN:0822201097 | Drama | 41 pages | 1980 308 pages | Jul 1, 2011 | The last thing The Dog wanted was to find another body. But there was Annie Adams-the barn lady-floating dead at his feet, her easel and paints set up on the bridge above his | The Blood Knot | Fiction | ISBN:9781440553950 | John Galligan 1970 | Athol Fugard | 76 pages | ISBN:0573614377 | A Drama in Two Acts | People are Living There | South African drama (English) 202 pages | Athol Fugard | The brothers of Blood Knot-- one dark-skinned, one light-- betray their dreams of a better future with the impossible wish of passing for white. In Hello and Goodbye, a poor | UOM:39015022293941 | 1991 | Blood knot, and other plays | Drama ISBN:0802142680 | 1980 | 232 pages | In the Johannesburg township of Soweto, a young, black gangster in South Africa, who leads a group of violent criminals, slowly discovers the meaning of compassion, dignity | Fiction | Athol Fugard | Tsotsi pdf download pdf file Athol Fugard | 226 pages | Nov 4, 1974 | The blood knot; Hello and goodbye; Boesman and Lena | Three Port Elizabeth plays | Drama | UOM:39015013960458 A Play in Two Acts | Boesman and Lena | ISBN:057360620X | 61 pages | Blacks | 1971 | Athol Fugard https://audrianabeier.files.wordpress.com/2016/04/webi.pdf https://audrianabeier.files.wordpress.com/2016/04/kab.pdf https://audrianabeier.files.wordpress.com/2016/04/pyr.pdf https://audrianabeier.files.wordpress.com/2016/04/pabubo.pdf https://audrianabeier.files.wordpress.com/2016/04/dul.pdf.
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  • Blood Knot Press Release
    January 30, 2013 Contact: Matthew Jones 503.242.0080 or 503.242.0080 or [email protected] For Immediate Release Profile Theatre presents Blood Knot by Athol Fugard February 27 – March 17, 2013 (Portland, Oregon – January 30, 2013) Profile Theatre presents Blood Knot February 27 – March 17, its third Main Stage production of the 2012-13 season dedicated to the works of Athol Fugard, Half-brothers Zach and Morris live together in a one-room shack in Port Elizabeth’s black housing slum, unable to escape until enough money is saved from Zach’s job guarding the entrance of a Whites Only park from non-white children. As light-skinned Morris tries desperately to hold on to his only family, he inadvertently creates a chasm that might never close, forcing dark-skinned Zach to ask the most dangerous question: Is love only skin deep? “With Blood Knot, we have the chance to ask ourselves: how does racism live in our relationships today on either overt or subtle levels?” says director Kevin Jones. “Do we allow ourselves to notice the stereotypes we act out or project onto others? If we do allow that level of self-awareness, what do we do with it? We need to talk about these issues. For me as a story-teller and cultural activist, coming to this play is about having a conversation.” Athol Fugard originated the role of Morris onstage. Upon its premiere in Johannesburg in 1961, the two-character play was immediately closed and censored by the South African government for having an interracial cast.
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  • The Uniqueness of Athol Fugard's Characterization in His Drama
    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 6 No 2 S1 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy March 2015 The Uniqueness of Athol Fugard’s Characterization in his Drama Margaret Njoki Mwihia Mount Kenya University, School of Social Sciences Doi:10.5901/mjss.2015.v6n2s1p184 Abstract In the process of reading Athol Fugard’s four selected plays it has been noticed that he has a unique way of presenting his characters to show his vision. The playwright presents us with characters in conditions that portray dehumanization of one race by another. He uses minimal characters that represent the larger population of South Africa. Keywords: Literature, Language, Arts, Writers, play 1. Background Critics and reviewers who have studied Fugard’s plays have been examined to identify the gaps that the study can fill. According to Nyamdi( 2006) Africa’s literature has organic link with the African society so that it reflects and settles a pathfinder’s role on this literature. He adds that Africa goes where its literature takes it. This observation presupposes that the African writer has a great role in the education and re-education of his/her people. Indeed retrospection in African literature is not just reproduction of African history; it is writers’ artistic techniques of moving away from the real to the ideal. Out of the raw materials of history the African writer constructs for us fictions; in so doing they create patterns of meaning out the jumble of fragmentations and chaos that the African reality presents. Through his/her creative imagination a writer aims at persuading his/her reader to view not only a kind of reality, but more important from a certain angle and perspective, a certain vision, though perhaps unconsciously.
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  • Lantern Theater Company Presents Philadelphia Premiere of Athol
    Press Contacts: Canary Promotion, 215.690.4065, Megan Wendell, [email protected] Rose Mineo, [email protected] Mailing Address High-res cast photos available now at: Lantern Theater Company www.canarypromo.com/lantern P.O. Box 53428 Philadelphia, PA 19105-3428 View the release online: http://bit.ly/1l1YhnI Theater Address Lantern Theater Company FOR IMMEDIATE RELEASE At St. Stephen’s Theater March 26, 2014 10th & Ludlow Streets Philadelphia, PA 19107 Lantern Theater Company Presents Philadelphia Premiere of Box Office 215.829.0395 Athol Fugard’s The Train Driver Administrative Office Directed by Matt Pfeiffer, April 10 – May 4, 2014 215.829.9002 Email [email protected] PHILADELPHIA – Lantern Theater Company closes their 20th anniversary subscription season with the Philadelphia premiere of The Train Driver, one of South African playwright Web Athol Fugard’s newest plays. This will be the Lantern’s fourth production of works by the www.lanterntheater.org 2011 Tony Award-winner for Lifetime Achievement, including "Master Harold"...and the boys in 2006, Sizwe Bansi Is Dead in 2009 and The Island in 2012. Charles Isherwood of The New York Times described The Train Driver as “a moving portrait of a man coming to recognize the deep divisions that still plague his country, and makes a modest but eloquent addition to Mr. Fugard’s oeuvre.” Directed by Matt Pfeiffer and starring respected Philadelphia veteran actor Peter DeLaurier as Roelf and Kirk Wendell Brown in his Lantern debut as Simon, performances run April 10 – May 4, 2014. [Full schedule including special events is below] Based on a shocking and surprisingly common true story of suicide by train in South Africa, The Train Driver is an emotional exploration of the legacy of apartheid.
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  • Antigone in Anglophone African Literature
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Padua@thesis Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue e Letterature Europee e Americane Classe LM-37 Tesi di Laurea Antigone in Anglophone African Literature Relatore Laureanda Prof. Annalisa Oboe Elisabetta Forin n° matr.1017604 / LMLLA Anno Accademico 2012 / 2013 Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue e Letterature Europee e Americane Classe LM-37 Tesi di Laurea Antigone in Anglophone African Literature Relatore Laureanda Prof. Annalisa Oboe Elisabetta Forin n° matr.1017604 / LMLLA Anno Accademico 2012 / 2013 CONTENTS Illustrations and abbreviations ................................................................................................................. ix Preface ........................................................................................................................................................... xi Introduction................................................................................................................................................... 1 Chapter 1. The Sophoclean Antigone and the practice of rewriting .................................................... 5 1.1. Sophocles‟ Antigone ............................................................................................................................ 5 1.1.1. Dating Antigone...........................................................................................................
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    ISSN 2239-978X Journal of Educational and Social Research Vol. 4 No.1 ISSN 2240-0524 MCSER Publishing, Rome-Italy January 2014 A Critical Analysis of Athol Fugard’s Social Vision in Four Selected Plays Mwihia Margaret Njoki Mount Kenya University Email: [email protected] Dr. Collins Ogogo Mount Kenya University Email: [email protected] Doi:10.5901/jesr.2014.v4n1p63 Abstract Literature is a product of the writer’s artistic imagination. The writer accurately observes the happenings in his/her society, both contemporary, and historical and communicates to the readers through use of vivid imagination and creative use of language. His/her her aim is to communicate and have an aesthetic impact upon the reader. Writers, thus fuse history in their creative works. Indeed, literature gets shape and direction from society. The shape is derived from society’s experiences in terms of the raw experiences of the society. These raw experiences also dictate the kind of literature; in terms of the techniques and styles that the writer uses to communicate his/her vision. Though a writer may present the realities of his/her society, such realities cannot be fully objective. Literature is fiction; it presents a writer’s perspective and perception of a society’s realities. Thus writers aim at persuading the readers to take a certain attitude towards the realities. What they present is a slice of life; a selected paradigm of the realities. South African literature was mainly shaped by the experiences of black South African; the experiences arising out of the system of Apartheid. However different writers present different perception on the psychological and physical effects of this racist system that dehumanized the black people.
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  • Doing It for Athol: Representation and Appropriation in My Life ^
    Doing It for Athol: Representation and appropriation in My Life ^ Mary West School of Languages University of Port Elizabeth PORT ELIZABETH E-mail: [email protected] Abstract Doing It for Athol: Representation and appropriation in My Life Athol Fugard has spoken o f his need to start again, as an artist. This new beginning is manifest in the two plays published jointly in 1996, My Life & Valley Song. The focus o f this article is My Life, an innovative workshopped piece, involving five young women between the ages offifteen and twenty-one, who offer a selection o f "Images and stories from [their] personal biographies" - sub-title o f the play. The stories that emerge in the text, I have argued, are not the ones that could have or would have emerged had the actors not been prompted and directed by Fugard. To justify this position a number o f questions have been raised: Why did Fugard choose an all-female cast? Why are the actors all so young? What effect did the facilitator have on the actors ’ willingness to share their stories? How are the concerns o f race and gender treated? How are (self-)censorship and (auto-)biography to be understood in terms o f the stories told? Fugard has claim­ ed that he did not write this play, that the words and stories come from the actors themselves. The validity o f this claim is examined in the light o f these questions, and the politics o f representation and o f authorship are central to the argument.
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    Athol Fugard John Kani Athol Fugard has been working in the theater as John Kani is an actor, director, and playwright. His a playwright, director, and actor since the mid- appearances at the Market Theatre in Johannesburg 1950s in South Africa, England, and the United include My Children! My Africa! (for which he won an AA States. His plays include No-Good Friday, Non- Life Vita Award in 1990 for his role as Mr. M), Sizwe Gogo, The Blood Knot, People Are Living There, Banzi is Dead, and The Island, both of which he also onald Woods, who was arrested and Hello and Goodbye, Boesman and Lena, The co-wrote with Athol Fugard and Winston Ntshona; for Coat, Dimetos, Statements After An Arrest Under The Island, he was awarded a Tony for Best Actor driven into exile from South Africa for his anti- D The Immorality Act, Orestes, The Island, Sizwe (1974/5). Previously at The Royal National Theatre in apartheid journalism, described the contribu- Banzi is Dead, The Drummer, A Lesson from London, he performed in ‘Master Harold’...and the tions of Athol Fugard, John Kani, and Winston Aloes,’Master Harold’...and the Boys, The Boys, and My Children! My Africa! for which he Ntshona as follows: Road to Mecca, A Place with the Pigs, My received an Olivier nomination. “One day, if a historic assessment is made of Children! My Africa!, Playland, Valley Song, He recently received the Avante Hall of Fame the most effective opponents of the apartheid and The Captain’s Tiger. award from the South African Film, Television and system in South Africa, two remarkable actors He has been seen on the stage in South Advertising Industry.
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  • Manichean and Dichotomous Opposites in Athol Fugard's Blood Knot
    ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 6, No. 6, pp. 1225-1231, November 2015 DOI: http://dx.doi.org/10.17507/jltr.0606.09 Manichean and Dichotomous Opposites in Athol Fugard's Blood Knot Shunayfaa Mohammed Al-Qarni Department of English, College of Languages and Translation, King Khalid University, Abha, K.S.A. Abstract—This study undertakes an investigation of Fugard’s scathing condemnation of apartheid in his Blood Knot. Despite, his white skin, Fugard adopts a humanistic approach towards the oppressed South African natives who undergo dichotomous opposites in their pursuit for real selfhood and identity within a segregating millieu. His two protagonists Zach and Morrie fall within a dialectic endless cycle of reveral of roles between the ‘Self‘ and the ‘Other.’ Fugard attempts to find a possibility of survival and a new resistant image of the ‘Self’ that can step courageously on the way of change and independence in a world that is devoid rationalization. This personal resistance will turn by time to be a collective one that exmplifies Fugard's universal message. Index Terms—apartheid, Fugard, self, other, dichotomous, identity I. INTRODUCTION Harold Athol Fugard is one of themost renowned anti-apartheid South African playwrights. He was born in Middelburg, South Africa, on June 11, 1932 to an Afrikaner mother and a disabled former jazz pianist father. Among his most significant works in which he attacks the apartheid aggressive system and advocate strongly for man's rights are The Blood Knot (1961), later revised and entitled Blood Knot(1987), Boesman and Lena (1969), A Lesson from Aloes (1981), The Island (1972), and 'Master Harold' andthe Boys (1982).
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  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) The politics of adaptation: contemporary African drama and Greek tragedy van Weyenberg, A.L.B. Publication date 2011 Link to publication Citation for published version (APA): van Weyenberg, A. L. B. (2011). The politics of adaptation: contemporary African drama and Greek tragedy. Eigen Beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 Chapter 2 African Antigones: “wherever the call for freedom is heard!” If Creon could not hear Antigone, Rejoice with us giving no credibility to her words, unable Rejoice heartily with us to see the logic to which she appeals, The tyrant she continues to speak through the Who gives wicked orders history of political translations and We have conquered him! performances of Antigone, which, Oh yes, we have beaten him! even as they re-signify her, articulate We have seen his back! and renew the law she introduces.
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  • The Evolution of Athol Fugard's the Blood Knot / Kim Lauren Mckay Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1987 The evolution of Athol Fugard's The blood knot / Kim Lauren McKay Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation McKay, Kim Lauren, "The ve olution of Athol Fugard's The loodb knot /" (1987). Theses and Dissertations. 4769. https://preserve.lehigh.edu/etd/4769 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. ' THE EVOLUTION OF ATHOL FUGARD'S THE BLOOD KNOT by Kim Lauren McKay A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts 1n• English Lehigh University 1987 •• ... \... ../ This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. • (date)· Charge hairman of Department ii , I •' .... Table of Contents Abstract page 1 Introduction page 2 The Blood Knot in the Sixties: Roots, Reactions, and Racial Significance page 3 .. The Published Text: An Imagistic Reading page 15 The Blood Knot Reborn in the Eighties: I A Reflection of the Artist and his Times page 31 Vita Page 54 \ iii .... \ Abstract Athol Fugard's play The Blood Knot, written in the early 1960's, responds well to the kind of scholarship one applies to the established literary cannon. Indeed, rather than the political propaganda some critics accuse it of being, this work has value apart from its South African roots.
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