![]() Upon returning to south africa later that year, Fugard found that The.Ĭreon, and his 20th century political descendents, views himself as metonymic with the state Very quick read, and equally enjoyable. While in London, Fugard penned The Blood Knot (1961). Africa, he and his wife moved to London to experi-ence theater free from racial segregation and discrimi-nation. Athol Fugard, in Mary Benson’s introduction to Fugard’s Notebooks: 1960-1977 Athol Fugard. Create a book Download as PDF Printable version. The Island is a play written by Athol Fugard, John Kani, and Winston Ntshona. Poster for the 2000 Royal National Theatre production. Antigone's reminder that King Creon is just one individual-and a fallible one as well- forces the characters and the reader to remember that the National Party, and its Apartheid policies, are equally as human.įrom Wikipedia, the free encyclopedia. I enjoyed Fugard's use of Antigone as an intertext, especially because, if I'm not mistaken, the prisoners on Robben Island actually did put on this play. ‘Who cares’, comes the reply.Very quick read, and equally enjoyable. ‘You call laughing at me Theatre?’ the big man exclaims, resentfully. Moreover, our reactions have been anticipated by an earlier scene in the play, during which Winston’s first assumption of Antigone’s wig and padding has his cell mate John - and us - falling about with laughter. For what we are watching is a play-within-a-play: a two-man version of Sophocles’s classic work performed by convicts before a prison audience in South Africa’s maximum security centre for political offenders, Robben Island. Nor do we laugh when he goes on to deliver Antigone’s famous speech, defying the law which has condemned her. He is pretending to be the ancient Greek princess Antigone. Towards the end of The Island, the second of the three plays published in Statements (1974), a large, clumsy black man appears on stage in a wig of frayed rope, a necklace of nails, and a shirt stuffed with false breasts. ![]()
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