Athol Fugard : his dramatic work with special reference to his later plays

dc.contributor.advisorHaresnape, Geoffreyen_ZA
dc.contributor.authorSarzin, Anneen_ZA
dc.date.accessioned2016-11-10T06:46:37Z
dc.date.available2016-11-10T06:46:37Z
dc.date.issued1987en_ZA
dc.descriptionBibliography: pages 366-380.en_ZA
dc.description.abstractIn the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's early plays, revealing the embryonic playwright and those characteristics of imagery, construction, language and content to be developed and refined in later plays. Briefly examined within this context are No-Good Friday, Nongogo and Tsotsi, the playwright's only novel. A chapter on the Port Elizabeth plays written in Fugard's apprenticeship years, The Blood Knot, Hello and Goodbye and Boesman and Lena, focuses on his growing skill as a dramatist, his involvement in his milieu both geographically and emotionally, as well as providing detailed analysis of the plays in terms of major features such as national politics, universal values, existentialism and Calvinism. The period of collaboration in which Fugard responded to the suggestions, imaginative projections and creative stimulus of his actors, forms the content of a chapter devoted to detailed study of the improvised plays: The Coat, Orestes, Sizwe Bansi is Dead, and The Island. The later Port Elizabeth plays, A Lesson from Aloes and "Master Harold ' ... and the boys, are explored from political and personal perspectives respectively, with attention paid to the intensely human dramas that dominate even the overtly ideological considerations. A chapter on the television and film scripts - The Occupation, Mille Miglia, The Guest, Marigolds in August - traces Fugard's involvement in these media, his economy of verbal descriptions and his taut control of his material generally. A chapter is devoted to Fugard' s women, the characters who present affirmative points of view, whose courage, compassion and determination infuse a hostile world with a range of possibilities beyond survival and existence. Milly in People are Living There, Frieda in Statements After An Arrest Under The Immorality Act and Miss Helen in The Road to Mecca form a Fugardian sorority of survivors. The final chapter of the thesis is devoted to Dimetos, regarded as an intensely personal artistic statement, an examination of the dramatist's alterego, the playwright's persona.en_ZA
dc.identifier.apacitationSarzin, A. (1987). <i>Athol Fugard : his dramatic work with special reference to his later plays</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature. Retrieved from http://hdl.handle.net/11427/22466en_ZA
dc.identifier.chicagocitationSarzin, Anne. <i>"Athol Fugard : his dramatic work with special reference to his later plays."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature, 1987. http://hdl.handle.net/11427/22466en_ZA
dc.identifier.citationSarzin, A. 1987. Athol Fugard : his dramatic work with special reference to his later plays. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Sarzin, Anne AB - In the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's early plays, revealing the embryonic playwright and those characteristics of imagery, construction, language and content to be developed and refined in later plays. Briefly examined within this context are No-Good Friday, Nongogo and Tsotsi, the playwright's only novel. A chapter on the Port Elizabeth plays written in Fugard's apprenticeship years, The Blood Knot, Hello and Goodbye and Boesman and Lena, focuses on his growing skill as a dramatist, his involvement in his milieu both geographically and emotionally, as well as providing detailed analysis of the plays in terms of major features such as national politics, universal values, existentialism and Calvinism. The period of collaboration in which Fugard responded to the suggestions, imaginative projections and creative stimulus of his actors, forms the content of a chapter devoted to detailed study of the improvised plays: The Coat, Orestes, Sizwe Bansi is Dead, and The Island. The later Port Elizabeth plays, A Lesson from Aloes and "Master Harold ' ... and the boys, are explored from political and personal perspectives respectively, with attention paid to the intensely human dramas that dominate even the overtly ideological considerations. A chapter on the television and film scripts - The Occupation, Mille Miglia, The Guest, Marigolds in August - traces Fugard's involvement in these media, his economy of verbal descriptions and his taut control of his material generally. A chapter is devoted to Fugard' s women, the characters who present affirmative points of view, whose courage, compassion and determination infuse a hostile world with a range of possibilities beyond survival and existence. Milly in People are Living There, Frieda in Statements After An Arrest Under The Immorality Act and Miss Helen in The Road to Mecca form a Fugardian sorority of survivors. The final chapter of the thesis is devoted to Dimetos, regarded as an intensely personal artistic statement, an examination of the dramatist's alterego, the playwright's persona. DA - 1987 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1987 T1 - Athol Fugard : his dramatic work with special reference to his later plays TI - Athol Fugard : his dramatic work with special reference to his later plays UR - http://hdl.handle.net/11427/22466 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/22466
dc.identifier.vancouvercitationSarzin A. Athol Fugard : his dramatic work with special reference to his later plays. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature, 1987 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/22466en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentDepartment of English Language and Literatureen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherEnglish Literatureen_ZA
dc.titleAthol Fugard : his dramatic work with special reference to his later playsen_ZA
dc.typeDoctoral Thesis
dc.type.qualificationlevelDoctoral
dc.type.qualificationnamePhDen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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