Athol Fugard was born in Middelburg, South Africa in 1932. His full name is Harold Athol Lanigan Fugard and as a child he was known as Hally before he decided he wanted to be called Athol. He is white with English and Afrikaner parents. He was brought up in Port Elizabeth, South Africa with English as his mother tongue. He describes himself as an Afrikaner writing in English.
After some acting experience he started writing plays, usually set in South Africa and steeped in the politics of the day. However the politics never affected his insight into people. Like Tennessee Williams, Fugard creates characters with strengths and weaknesses, which make them unable to fit into what society requires, and like Williams the plays often have dominant women.
Fugard started writing in the late 1950s, with a group of actors from Johannesburg who were influenced by Strasberg’s method acting. To begin with, Fugard’s first play, “No-Good Friday” was performed only in townships in South Africa, and was moderately successful. It was first performed on 30th August 1958 at the Bantu Men’s Social Center in Johannesburg. It was not until 6th November 1974 that this play was performed outside of Africa in Sheffield, England. His second play, “The Blood Knot” was an international success, and eventually led to his passport being taken away.
Although he was just sixteen years old when apartheid was instigated, Fugard took a great interest in the developments of segregation and separation. In 1950, the Group Areas Act was passed, specifying, amongst other things, that separate areas would be reserved for each of the four main racial groups.
The different environment that blacks were forced to live in, was shown to Fugard in 1958. He had moved from Cape Town to Johannesburg in an attempt to start a new career as a writer and, although he always knew about the townships, he had never encountered them first hand. They had always been forbidden and closed to him, as he was white. However, this was about to change. As Fugard himself puts it, he was “challenged out of my white complacency” when he first visited Sophiatown. The government had targeted this township for destruction, as it was believed to be situated “too close for comfort to white Johannesburg”. As a result it had become a source of political activity. One evening, Fugard and his wife were taken on a drive to Sophiatown, where political resistances to the forced removals, carried out by the government, were being monitored. This was the first encounter with a black township, Fugard had ever had, and it affected him greatly.
“We found ourselves in a world of vibrant defiant life, made all the more so by the poverty in which most of its inhabitants lived. And, possibly more important from my point of view, it was also Johannesburg’s black bohemia.”
Fugard made several important friendships in this shantytown. People like Bloke Modisane and Can Themba became amongst Fugard’s closest acquaintances. It was with these friends that Fugard formed his first of two drama groups, “Actors’ Studio”.
In an attempt to portray the poverty imposed on blacks, Athol Fugard released “No-Good Friday”. In this play, Fugard recognizes and highlights that to be black is to be poor, and that black existence is a constant struggle to find an escape from the cycle of poverty and the terrible quality of life imposed upon them. In this play, a well-meaning white cleric suggests that Black problems are no different from White problems. Needless to say, this play was extremely risky to perform, as Fugard was breaking the law by suggesting that white people were no better then blacks, but were in fact equal. With this performance, Fugard began to make a name for himself as a “serious playwright who has often dared to challenge the social system of his country and the ways whites, blacks, Asians and colored think of race; and who has expanded our horizons about the nature of human psychodynamics.”
His second play, “Nongogo” was staged ten years after the 1948 initiation of apartheid. This was the first play of many, which provided an insight into the devastating progress the apartheid took, and some of the reasons for its eventual downfall.
A second township, (“New Brighton”, on the outskirts of “Port Elizabeth”) was formed five years later, after he had written “Blood Knot”. Back in Port Elizabeth, five people approached Fugard from the township. They had read about his success with “Blood Knot” and had come to ask him to help them start up a drama group. With some reluctance, Fugard agreed, and “Serpent Players” was formed. Fugard continued to write plays that had huge impacts on the South African theatre scene. It was the first time black actors and plays about township life were allowed to be performed.
The area of apartheid, which fascinated Fugard the most, was that of imprisonment of political prisoners. In 1652, Jan van Riebeeck established the first permanent settlement by Europeans in South Africa, in Cape Town. Riebeeck discovered Robben Island, which is situated just twelve kilometres off the Cape Town coast. He decided to use it, as a place of banishment, built a prison, and sent exiles and slaves to dig out the white stone found there. From then on, the various governors of the Cape found the Island very useful for exiling unwanted people. The reason this particular island was used is because the climate extremes were so great and also it was almost completely inaccessible. In summer the heat is intensified by the salt air, sparse vegetation and lack of shade. In wintertime, it is very damp, and usually attacked by sea storms and thick fog.
Ironically, in 1846, the prison was transformed into a hospital! In 1855 parts of the hospital was converted into a colony for people with leprosy and a mental institution, and another part was converted back into a prison. The hospital closed in 1931 when the League of Nations Health Organisation declared that lepers did not need to be kept so isolated from other people. During the Second World War, defences were built on the island to protect South Africa against Germany and these were later used as a navy training centre. The island was also used as a station to refuel ships travelling around the cape, following the closure of the Suez Canal.
In 1959, a maximum-security prison was built on Robben Island. Between 1961 and 1991, over three thousand men were imprisoned here as political prisoners. At first, this prison would only contain convicted criminal offenders as well as “politicals”. The most famous inmate ever held at this prison, was Nelson Mandela, from 1962 until 1990, a total of 28 years.
All the inmates at Robben Island were black, and all the wardens were white. The prison had a capacity of six hundred and fifty prisoners. It was divided into sections, some with single cells, others containing larger communal cells. Following the Soweto rising in June 1976, a fourth section was created to cope with the large influx of new prisoners. High walls and fences divided each section. The walls and fences in the isolation section were much taller, and this area contained the older men.
Most prisoners were allowed to receive only two letters a year, and two visits, (though most received none, due to the islands inaccessibility). No radio sets or newspapers were allowed, and all reading matter was strictly censored. To help make time pass more quickly, the prisoners organised shows for each other, including songs, poems, and of course the two-man version of Antigone. However, each of these performances was illegal, and the prisoners were not allowed to applaud. To overcome this, and still be able to show their appreciation to the other inmates, they would “brush” or run their hands together instead.
During the mid and late 1960s, frequent acts of brutality took place. It was these that influenced Athol Fugard’s writing of the play. Stone-breaking, collecting seaweed, and work in the lime quarry were the main occupations. Several prisoners developed tuberculosis; some died as a result of inadequate or no treatment for their ailments. International pressure led to some improvements in these conditions, until finally, a decision to close Robben Island was made. This was a huge turning point in Black history, as the island had become a symbol of White South African tyranny, and indeed a theme in modern South African literature.
On the second of July 1973, “The Island” was performed for the first time, under the title, “The Hodoshe Span”, at “The Space” in Cape Town. It was later revealed, in an interview with one of the actors, John Kani, that it could not at first be called “The Island”, as the authorities would have immediately known that the reference was to Robben Island. “The Hodoshe” means the green carrion fly. This title was decided, as Kani’s brother spent five years on the Island, and apparently there was an infamous warden who was referred to as “the fly that brings death”. The play was an instant success, and showed the struggles and hardships of life on an island prison, by following two prisoners in their everyday tasks.
Fugard wrote “The Island” to bring to people’s attention the terrible conditions, black prisoners were made to live and work in. Fugard studied the history and stories from Robben Island, and decided he would write a play to expose the truth that so many people refused to acceptor acknowledge.
The story itself is easy enough to understand. It follows John and Winston, (two prisoners); through their working day and then the time they spend in their own cell. The opening is described by Peter Brook as “a mime of grunts and effort, of repetition and of physical exertion.” The mime itself last roughly ten minutes, and is extremely powerful. There is no sound, other then the shovel scraping across the stage, and the wheelbarrows being wheeled from one side of the stage to the other. This is a pointless task, and because both men are at either side of the stage, the sand gets transported from one end to the other, making it endless. Winston delivers the extremely powerful line:
Winston: “I was sentenced to life brother, not bloody death”
The stage, which “The Island” is performed on, is incredibly simple. Fugard wanted nothing more on stage then a box, two bedrolls, a bucket and a dirty rag. Many of his plays, when they were first performed, were set on an equally bare stage. The reason for Fugard’s seemingly bare set, and small casts, is because his plays were performed in townships, often in secret. As a result, the venues were incredibly small, therefore restricting the texts.
After a long first scene with constant digging, the two prisoners are left alone in their cell. As a result of their day’s gruelling task, both men start telling one another how much they hated each other whilst they were digging. Already therefore, within the first few scenes, Fugard has provided the audience with the harsh reality of what an entire days work consists of, and a brief introduction to the two main protagonists.
Before long, we learn that they are preparing to perform a small, two-man version of “Antigone”. The use of the play Antigone is extremely symbolic. The reason for this is because Antigone can be seen as a parody for the prisoners. Antigone is the story of a young girl, who defies her uncle Creon, as he has sentenced to death anyone who dared to bury her brother. Her brother has died, as Oedipus, (her father) decided to give up his throne, and allow his two sons, (Eteokles and Polyneices) to each rule for a year. At the end of the first year, Eteokles does not step down as King of Thebes, and so Polyneices goes to Argos and persuades King Adrastos to help him attack the city. Seven captains led the force. The two brothers killed each other in battle and Creon forbade the burial of Polyneices' body. Antigone disobeyed and buried the body, only to have this discovered by Creon. As punishment, Antigone is walled up in a cave, where she eventually hangs herself. However, she was engaged to Creon’s son, who stood up for her, and after Creon relents, they journey to free her. Sadly, she is already dead. Antigone stands as an example for everyone who defies justice. This is particularly significant in a prison where the prisoners have been arrested, as they have resisted the injustices of apartheid. Fugard cleverly uses this Greek tragedy, as it was well known that the wardens of Robben Island, allowed this show to be performed, as a way of showing how wise they were to the world. The inmates chose “Antigone”, and the authorities were so naïve, that they did not realize the message in the play. They believed it was an ancient Greek tragedy, and would simply be culture for the inmates, without really understanding the power of their choice. The play gave the message that hope should never be lost, and people should always stand up for what they believe in. The use of “Antigone” could be taken as Fugard’s way of communicating to the townships that he performed to. His plays were not just to entertain, but were also a way to provoke hope, and educate.
We learn that Winston is to play the part of Antigone. For their props, they have a curtain, (which is just white), a half finished necklace made of nails and a wig made of a few strands of string. These images are incredibly powerful, as initially, the sight of a grown man, wearing a piece of cloth and a wig made of string look as though they should be placed in a comedy. However, the audience is then drawn into feeling sorry for the inmates, as this small two-man version of Antigone, is all they really have to look forward to. The actor acquires dignity, as he is playing a character who defied a tyrant, like they have done. This is one example of how Fugard uses theatre brilliantly. The entire audience shifts from laughter to extreme sorrow very quickly as a result of the powerful message behind the wig made of a few strands of string.
A few scenes later, the audience is told that John’s appeal has been successful, and that he is to be released in three months. This of course creates a field of tension between the two cellmates. However, an explosion of happiness masks this to begin with. They begin to reminisce about the day they came to the island, and how terrible the journey was. They tell the audience how they were treated like cattle rather then men. Eventually, John tells Winston that he wants to forget about it, as he believes it to be a harsh trick by the wardens, in an attempt to break his spirits.
John: “those bastards will do anything to break you. If the wheelbarrows and the quarry don’t do it, they’ll try something else. Remember that last visit of wives, when they lined all the men up on the other side… ‘Take a good look and say goodbye! Back to the cells!’ ”.
This line shows the audience the cruel tricks the wardens used to play on the prisoners. Fugard put this section in, as the audience he would be performing to, lived in the times when apartheid was still very much a part of modern day life. As a result, he believed it to be his duty to bring to attention how political prisoners were suffering in prison. Fugard became obsessed with the effect apartheid was having on South Africans from every racial group. His writings began to change, as the affects of segregation became worse and worse. The plays he was writing became more and more revealing and dangerous to perform.
The next scene is later that night, when the two men are in bed. John is counting the days down until he can leave, until Winston catches him. Winston starts counting backwards, until he reaches tomorrow, and John cannot contain his anticipation any longer.
John: “NO! Please man, Winston. It hurts. Leave those three months alone. I’m going to sleep!”
Winston carries on however, and starts describing the journey home, and how good it will feel to be a free man again, talking about what his first night will be like. John begs Winston to stop, however, he carries on. Finally, Winston takes it too far, and John asks why he is punishing him. This is where Winston finally opens up, and explains that he is insanely jealous. He provides the audience with an insight into another prisoner, who has been broken by the wardens. He says they have changed him to stone, and that the same is happening to him. The scene ends at daybreak, with the two getting ready for their play.
In an interview, Athol Fugard said that he hoped to carry the message across to the audience, that “you cannot imprison the spirit of men like these two.” This is a play to remind us of those who are imprisoned, especially bringing to attention those who are political prisoners.
The international premiere for “The Island” was held in London at the Royal Court in 1973. The response was overwhelming. It is clear, that although the South African background in which the play is set, is very different today than it was thirty years ago, the importance of the piece is still very strong. In fact, it could be argued that the world has not learned anything in the thirty years since its first production. Interestingly enough, one review referred to Athol Fugard as “the “White” South African writer”.
There are a few scenes, which I believe are the hardest hitting; as it could be argued they are a metaphor for Black life. This is when the prisoners are digging an endless amount of sand, and the whistle is blown for them to return to their cells. The fact that they run too slowly causes them to get beaten by the warden they obviously fear the most, Hodoshe.
Just under three decades after the play has been written, it is still getting rave reviews from modern newspapers and critics. The most recent performance hailed both the actors, (bearing in mind both John and Winston are now a lot older then they were the first time this play was performed!) as performing with “a seasoned and richly mature style”.
Although he wrote as many plays as he did, Fugard was not immune to police and government intervention. His rehearsals were frequently broken up by police raids, and from time to time; one of his group members would disappear. When they were found, they were often in court facing ridiculous charges, which would ultimately result in imprisonment on Robben Island. These police raids and unfair charges, only served to make Fugard more determined to uncover the truth behind life ruled by apartheid.
In conclusion, in my opinion the brutality of apartheid in South Africa, undoubtedly affected Fugard’s writing. He believed his plays were the only way that he could bring to light the truth behind the harsh conditions that living in a township meant for all the black people in South Africa. The reason it affected Fugard, was because it made his work much more powerful, as he had real life experiences upon which to base his plays. Also, he was doing something that no other South African writer had ever done. He was entering into the world of the “lower classes” and connecting with them in a way such as had never before been encountered. In my opinion, the disintegration of Apartheid in 1996 was not only due to pressure from the United Nations, but also the result of Fugard’s writings slowly providing the rest of the world with the truth behind the way black people were being treated in South Africa.
Word Count: 3,999
Bibliography
Dubow, Saul. 2000. “The African National Congress”. Sutton Publishing Limited.
Fugard, Athol. 2000. “Township Plays”. Oxford University Press.
Ross, Robert. 1999. “A Concise History of SOUTH AFRICA”. Cambridge University Press.
Thompson, Leonard. 1995. “A History of South Africa” Revised edition. Yale University Press.
Tutu, Desmond. 1999. “No Future Without Forgiveness”. Rider Publishing International.
Wertheim, Albert. 2000. “The Dramatic Art of ATHOL FUGARD From South Africa to the World”. Indiana University Press.
They had built it however; they “displaced” the native people and borrowed their land!
“A History of South Africa”. Revised ed. Thompson, Leonard.1995
In an attempt to divide the Blacks further, they were sectioned according to the their ethnicity. These sub-groups were also kept separated.
Fugard released several plays, grouped together under the title, “The Township Plays” which were written to explain life in the townships
There were nine tribes, so there were nine Bantustans.
Later, this percentage increased to 13%
A very famous American playwright 1911-1983, author of “A Streetcar Named Desire”
Fugard, Athol. 2000. “Township Plays” Oxford University Press.
A historical region and former kingdom of present-day western Czech Republic. The Czechs, a Slavic people, settled in the area between the 1st and 5th centuries A.D. A later principality was independent until the 15th century, when it passed to Hungary and then to the Hapsburg dynasty of Austria. Bohemia became the core of the newly formed state of Czechoslovakia in 1918.
Fugard, Athol “Township Plays” Oxford University Press.
Now a famous writer. His writings include “Blame Me On History”.
Also became a famous writer after meeting with Fugard.
Source: A South African Newspaper found on the Internet, written in the beginning of Fugard’s career.
It was with this play, that Fugard achieved success, both financially and critically.
Specifically mentioned by the characters John and Winston in the play “The Island”
Prisoners of a political nature.
Thompson ,Leonard. 1995 “A History of South Africa” Revised edition. Yale University Press
A Greek tragedy written by Sophocles.
As previously stated, “the Island” was first performed in 1973
The Guardian Newspaper Review, March 2002
