universal in their humanity. Ecstatic at first, the friends realize that their close relationship will soon end since Winston has been sentenced to life; they present Antigone nonetheless. The degree of political acuity won by Fugard's use of a dramatic form unconstrained by narrative demands, in which he can write 'into space and silence' without being strong faith in god essay diverted by the linear, temporal exigencies of episode, is exemplified in Sizwe Bansi Is Dead (1972). Lenas bruises are real, and the old African whom she befriends dies before dawn. Sturdy yet delicate, his plays wear wellthe ultimate tribute to a master artist.
Since Sizwe Bansi and The Island are collaborations it is impossible to attribute changes from the earlier plays to a change in Fugard's perceptions. And so, with the inspiration of Grotowski's theories and of his own practice since 1963 with the Serpent Players, Fugard abandoned the complete, 'prefabricated' text, conventionally offered to the actors at the outset of rehearsals, and began to work under no constraint from the exigencies. The two introductory essays written for Three Port Elizabeth Plays and Statements, in conjunction with the plays themselves, constitute some fascinating evidence about the dynamics of literature's political life in contemporary Africa. Dimetos seems, at first, to be far removed from the hard political clarity of Fugard's earlier plays concerned with apartheid. 169) Fugard's career can thus be viewed in terms of the changes in his subject matter, from presenting man as a unit in a family structure to the more recent portrayals of him as a citizen; in such a reading, the internally generated pressures. Although useful, collaboration has been a stage of his development which he has now left to return to the privacy (and security?) of pencil and blank paper. Latterly, however, the altered, public genesis of the 'Political Trilogy' has enabled Athol Fugard to gain an objective, critical distance, the result of which is a new brevity and economy. Kani and Ntshona use their own names in The Island. I suggest that on the contrary it is too energetically concerned with all the possible implications and motivations of the simple events outlined.
Jonathan Hammond, "A South African Season: Sizwe Bansi, The Island and Statements. Morris, the light-skinned brother, suffers from agoraphobiafear of open spacesafter wandering ten years trying to pass for white, while Zach, the dark-skinned brother, has suffered from claustrophobia ever since Morris returned to minister to him by ordering his life. These two levels subtly impinge and interact on each other, creating works of art that are emotionally as well as politically convincing. Sizwe Bansi Is Dead, which has received unanimous and justifiable critical acclaim. The orthodox dramatic form now no longer seemed worth 'retailing'. The mere ability and strength to make such a statement marks a change from the impotence of Fugard's previous plays. The whole is greater than the sum of its parts, but their interdependence is undeniable. Zach hates the world that has decided his blackness must be punished.
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