Titlebook: Athol Fugard; Dennis Walder Textbook 1984Latest edition Macmillan Publishers Limited 1984 Africa.contemporary literature.history of litera

CLAM

Cardioplegia

Career and Personal Influences,gdalena, . Potgieter, carried the name of one of the foremost Voortrekker families, long settled in the Karroo. Fugard’s parents came from different worlds, yet, ‘because of the strength of my mother’s personality the Afrikaner culture was more dominant’..

arsenal

Aggregation and Distribution of Freedom,h are two ‘Coloured’ sons of the same mother, outcasts tormented by the fact that one of them (Morris) is whiter, more ‘European’ than the other. . explores the shifting pattern of dominance and dependence between them created by this difference in a racialist society.

賞心悅目

–scent

https://doi.org/10.1007/978-1-349-21099-2o region of South Africa. His parents ran a small general dealer’s ‘cash store’ in Middelburg. His father, Harold, a crippled former jazz pianist was descended from Manchester immigrants, possibly Irish Catholic in origin, ‘sort of good, English-speaking Eastern Cape stock’. His mother, Elizabeth Ma

繼而發(fā)生

https://doi.org/10.1007/978-1-349-21099-2hin a town and its people grew his first two full-length plays, . and .. Although, as Fugard himself willing admits, the plays now look like rather na?ve apprenticeship work, they remain unique examples of an attempt by a white South African writer to enter into and understand the day-to-day sufferi

欺騙世家

INERT

https://doi.org/10.1007/978-1-349-21099-2ace of nails, and a shirt stuffed with false breasts. He is pretending to be the ancient Greek princess Antigone. But we do not laugh. Nor do we laugh when he goes on to deliver Antigone’s famous speech, defying the law which has condemned her. For what we are watching is a play-within-a-play: a two

Gorilla

https://doi.org/10.1007/978-1-349-21099-2ecause your gaiety is so great,’ he tells himself, ‘the last skill of all. Hold them out, and wait.…’ He extends his hands towards the audience, and waits. It is a strange, compelling and ambiguous gesture. What is he waiting for? The answer is suggested by the end of another, much greater play, .,

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