#athol fugard

[do-you-know-this-play]

[conceptalbum]

see the play.

[rnirrorball]

athol fugard, some of those bodies have faded and gone but these hands remember.

[sondheims-hat]

1984: Athol Fugard, Jessica Tandy, Sondheim.

[twisted-tales-told]

You know when you find a book, and everyone in it is just like: oh yeah, those to? Best friends. Gal Pals. Besties.

The two gals in question: "You're more important to me than anyone"

"no man will measure up to the connection We have"

Direct Quote:

"Nobody before you, or since, has done that to me. [...] You see, when I lit the candles, you were going to see all of me. I don't mean my face, or the clothes I was wearing--I mean the real me, because that's what this room is...and I desperately oh, so desperately, wanted you to like what you saw."

[madamlaydebug]

Happy 77th Birthday to Danny Glover.

Born July 22, 1946, He is an actor and film director. He is widely known for his lead role as Roger Murtaugh in the Lethal Weapon film series. He also had leading roles in his films included The Color Purple, To Sleep with Anger, Predator 2, Angels in the Outfield, and Operation Dumbo Drop.

Glover has prominent supporting roles in Silverado, Witness, A Rage in Harlem, Dreamgirls, Shooter, Death at a Funeral, Beyond the Lights, Sorry to Bother You, The Last Black Man in San Francisco, The Dead Don't Die, Lonesome Dove and Jumanji: The Next Level.

An Actor with a Cause

Daniel Lebern “Danny” Glover is an African American actor, film director and political activist. Glover is well known for his roles as Detective Sergeant Roger Murtaugh in the Lethal Weapon film series and Mr. Albert Johnson in The Color Purple. A versatile actor on screen, stage and television, Danny Glover has also become known for his community activism and philanthropic work. In March 1998 he was appointed a United Nations goodwill ambassador. For more than 30 years, Glover has been trying to make a biopic about Toussaint Louverture, who led a successful rebellion in the 18th century.

Glover was born on July 22, 1946 in San Francisco, California, to Carrie (Hunley) and James Glover. His parents were postal workers, active in the National Association for the Advancement of Colored People (NAACP). He attended George Washington High School in San Francisco, and the San Francisco State University (SFSU) in the late 1960s, without graduating. SFSU later awarded him an honorary degree. While attending SFSU, Glover was a member of the Black Students Union, which, along with the Third World Liberation Front and the American Federation of Teachers, collaborated in a five-month student-led strike to establish a Department of Black Studies. The strike was the longest student walkout in U.S. history. It helped create not only the first Department of Black Studies but also the first School of Ethnic Studies in the United States.

Glover trained at the Black Actors’ Workshop of the American Conservatory Theater. He made his Broadway debut in Athol Fugard’s production Master Harold…and the Boys, which led to his first leading role in the 1984 film Places in the Heart, which was nominated for the Best Picture Oscar. The following year, Glover starred in two more Best Picture nominees: Peter Weir’s Witnessand Steven Spielberg’s The Color Purple. In 1987, Glover partnered with Mel Gibson in the first Lethal Weaponfilm and went on to star in three hugely successfulLethal Weapon sequels.

In 1994 he made his directorial debut with the Showtime channel short film Override. Also in 1994, Glover and actor Ben Guillory formed the Robey Theatre Company in Los Angeles, focusing on theatre by and about Black people. During his career, he has made several cameos, appearing, for example, in the Michael Jackson video “Liberian Girl” of 1987. Glover earned top billing for the first time in Predator 2, the sequel to the sci-fi action film Predator. That same year he starred in Charles Burnett’s To Sleep with Anger, for which which he executive produced and for which he won an Independent Spirit Award for Best Actor. On the small screen, Glover won an Image Award and a Cable ACE Award and earned an Emmy nomination for his performance in the title role of the HBO movie Mandela. He has also received Emmy nominations for his work in the acclaimed miniseries Lonesome Dove and the telefilm Freedom Song. As a director, he earned a Daytime Emmy nomination for Showtime’s Just a Dream.

Glover has had a variety of film, stage, and television roles, but as also gained respect for his wide-reaching community activism and philanthropic efforts, with a particular emphasis on advocacy for economic justice, and access to health care and education programs in the United States and Africa. For these efforts, Glover received a 2006 DGA Honor. Internationally, Glover has served as a Goodwill Ambassador for the United Nations Development Program from 1998-2004, focusing on issues of poverty, disease, and economic development in Africa, Latin America, and the Caribbean, and serves as UNICEF Ambassador.

In 2005, Glover co-founded Louverture Films dedicated to the development and production of films of historical relevance, social purpose, commercial value and artistic integrity. For more than 30 years, Glover has been trying to make a film biography of Toussaint Louverture for his directorial debut. According to Glover, the film lacked ‘whyte heroes’, and hence whyte producers refuse to financially support the project unless the lead is surrounded by fictionalized historically inaccurate whyte heroes. In May 2006, the film had included cast members Wesley Snipes, Angela Bassett, Don Cheadle, Jonathan Rhys Meyers, Chiwetel Ejiofor, Roger Guenveur Smith, Mos Def, Isaach de Bankolé, and Richard Bohringer. Production, estimated to cost $30 million, was planned to begin in Poland, filming from late 2006 into early 2007. In May 2007, President of Venezuela Hugo Chávez contributed $18 million to fund the production of Toussaint for Glover, who is a prominent U.S. supporter of Chávez. The contribution annoyed some Venezuelan filmmakers, who said the money could have funded other homegrown films and that Glover’s film was not even about Venezuela. In April 2008, the Venezuelan National Assembly authorized an additional $9,840,505 for Glover’s film, which is still in planning.

On April 6, 2009, Glover was given a chieftaincy title in Imo State, Nigeria. Glover was given the title Enyioma of Nkwerre, which means A Good Friend in the language of the Igbo people of Eastern Nigeria.

[thebestoftragedy]

[we are the world playing softly in the distance]

I'm student teaching in a coupled upper-level IB English classes this fall, and I have a couple opportunities to help choose curriculum for the classes. The two things I'm looking for are a really good essayist/essay collection, and a good play. Can be any age, though contemporary/last 50 years is preferred.

For essays the teacher used to do David Sedaris, but he said kids lately really haven't been "getting" the humor so much so he wanted to try something else. He's also done David Foster Wallace but found that many students couldn't get past his personal... issues. Currently he's thinking Joan Didion. So, topics/style are flexible here.

For plays, he's done some Athol Fugard... I forget what else. He does want to include something with satirical elements either in the essays or the play, I think they also read Handmaid's Tale and Fun Home for novel and memoir. Content-wise it's fine for stuff to have some sex/violence/swearing, within kind of a common sense limit of what you would want to discuss with a class of thirty-odd 16- to 18-year-olds.

Anyway! I'm taking recommendations from the hivemind. This is a can't-miss opportunity to potentially guide the education of untold tens of semi-privileged midwestern American teens! Don't miss out! @iirulancorrino @doctorcrusher @jehannewick @invertprivileges @willowrosenberg1997 @effervescentwoman @redactedmatopoeia @thebeeskidneys @privacyworld @animesemplemcpherson @dscgshauntingground @gonegirldiscourse @hieronymouscock @bpdtomwambsgans @meadowsopranostoriamosposter

[angelshimaa]

dream, daydream and parchment >:D for the ask game!

hi hi my love, thank you for asking !!

dream; how long do you sleep on average?

about 6 hours, if i get more than that I just feel drowsy for the rest of the day

daydream; best memory?

hmmm, gonna have to think about this. one of mine is looking through baby photos on the eve of one of my birthdays with my sisters, and just tearing up at how much time has passed

parchment; favorite book?

i don't have a fave fave fave, but i think i'm gonna go with Tsotsi (meaning 'thief' in xhosa) by athol fugard. the prose in it?? beautiful

pretty asks !

[camillejmakesart]

Irish Classical Theatre Company's Master Harold...and the Boys by Athol Fugard

Directed by Aaron Mays

Photography by Mark Duggan

Props Design Camille Jessica

[tjpda]

And now it's time for everyone's favorite new segment: COOL STUFF WE FOUND IN THE ARCHIVAL PIECES! This is a new series where we at the archive highlight quirky, interesting items found left inside the texts compiled in the archive. Today we have:

A FOLDOUT PAGE OF ALL THE BOHEMIAN GROVE PLAYS!

These Bohemian Grove plays feature a list in each play of all the prior plays done at the retreat spanning back to the turn of the century. I feel like a better conspiracy theorist than I would be able to find some hidden message in their dramaturgy but it's beyond me. Still interesting to see though!

AN OUT-OF-DATE LIBRARY CARD HOLDER!

In this copy of Charles Ludlam plays, we can see that it was once a book belonging to the Mid-Manhattan branch of the NYPL. Apart from being potential evidence in a library-based crime (calling Phillip Baker Hall), it is of interest because the Mid-Manhattan branch no longer exists! It was renamed the Stavros Niarchos Foundation Library in 2017 after the titular foundation donated $55 million to the library for renovations.

A TINY CARD HOLDER!!

Inside this copy of Athol Fugard's The Road To Mecca, I found a little identifier sticking out listing the author, name of the play, publisher and copyright date. I figured this was for whoever had archived the play before me but I was more intrigued by the adorable holder/envelope thing that the card was in. It is printed with the (beautiful) logo for GEVA Theatre in Rochester, New York. Aside from being my hometown, this was exciting because GEVA was where I saw many of my first theatrical performances and it holds a very special place in my heart so this was fun to find.

[do-you-know-this-play]

[studiostyles]

Studio Styles is a research, curatorial and creative studio fostering deeper connections to ourselves, our histories, our communities and environment. 

The studio does this by conducting, platforming and funding humanities and arts research projects; and by curating events/exhibitions/spaces for people to come together and have deep-thinking conversations about how we are living our lives and how we can build more resilient communities. 

It is named after the photographer Styles in Athol Fugard's Sizwe Bansi is Dead, a photographer who used his studio to enact and memorialise the dreams and aspirations of his Black community under apartheid South Africa.

from the ‘Fear of God’/Does Your God Sleep? research event  photos by Goodie Cyrus

Receive studio updates by subscribing to studiostyles.substack.com

[alredered]

Alredered Remembers Athol Fugard, South African anti-apartheid playwright, on his birthday.

"Every boy needs a role model that he can be proud of and talk about to the other kids in the playground." - Athol Fugard

[kathy0-0]

In our “Female Iconoclasts” series, we feature some of the most radical women artists of our time; those who defied prevailing social and art conventions in order to pursue their passion and contribute their unique vision to society. South African artist Marlene Dumas is considered one of the most significant contemporary artists, whose intense, emotionally charged paintings address existentialist themes and political issues.

About Marlene Dumas

Marlene Dumas was born in 1953 in Cape Town, South Africa. She studied at an English-language university in the city, and it was there that the artist, who had grown up in a rural area with a family who owned a vineyard, started to learn a great deal not only about her own world, but also about the world beyond. It was 1972 and she had never before taken classes with people of colour besides her own, or spent time with people from different religious backgrounds. At university, she was introduced to avant-garde artists, poets, playwrights and thinkers such as Picasso, Pollock, Lichtenstein, Ginsburg, Bergman, Godard, Resnais, Jean Genet, Athol Fugard and Tennessee Williams. Even though she wasn’t sure she would have the power within herself to do it, she knew she wanted to be an avant-gardist herself. At the end of her degree, she won a bursary to study abroad in the Netherlands for two years. When she left South Africa, she was in a sense relieved: townships were burning, there was a great deal of censorship and the question of Apartheid was complicated to discuss yet impossible to ignore. In the Netherlands, she felt safe and was able to read all the books that had been banned in South Africa.

Marlene Dumas: The Image as BurdenMarlene Dumas: The Image as Burden. Courtesy ARTtube

Marlene Dumas’s Early Works

Early on, Dumas worked in collage as well as paint. She often used newspaper clippings as inspiration or material for her works, and her fascination for these media fragments can be traced back to her life in South Africa, where information about the world came from newspapers and magazines – television was only introduced in South Africa in 1976, four years after Dumas left the country.

Key Themes, Motifs and Approaches

Dumas works within a specific field of tension: her works begin with various source materials, ranging from imagery culled from current media stories to art historical references or even celebrities.

She often zooms in one of these chosen images, appropriating the key qualities and altering and embellishing them to form a new unique identity . She uses many different techniques, even within the same painting. Some parts seem to be rapidly sketched, while other parts of the canvas are stained or almost brushed out, and she tends to work with thinned-down paint and faded colours.

[kevintumbles]

Theatre Review: ‘Sizwe Banzi is Dead’ at Arena Players

In October, 1972, a new play made its world premiere in Cape Town, South Africa. Published under the title “Sizwe Bansi [sic] is Dead,” the piece was devised by Athol Fugard, John Kani, and Winston Ntshona. It was performed by Kani and Ntshona, and directed by Fugard. As a playwright, Athol Fugard is likely best […] See original article at: https://mdtheatreguide.com/2023/04/theatre-review-sizwe-banzi-is-dead-at-arena-players/

[mozoloonline]

Will the EFF expose Ramaphosa’s lack of courage?

You’ve got to hand it to the Economic Freedom Fighters (EFF); they know how to enlarge their stature working with precious little. They’ve got many an unemployed person, who can somehow afford South African data, propping them up on Twitter. They’ve got many a news outlet engaged in their planned protest action. They’ve even slyly chosen a day between a weekend and a public holiday… a Monday no less… when nobody bothers anyway. Then they set the narrative – if there’s violence, it’s not their fault because they warned people to stay closed. If there’s looting, it’s not their fault either. After that, they get their acolytes to make false, yet believable, equivalencies to previous protest action. And thus the stage is set for the Fighters to do whatever they want, at any expense, and still come off looking like the good guys. They’ve really nailed the insecure kid doing stupid antics for attention on the playground so they get other unpopular kids to befriend them bit. ALSO READ: ‘Let’s avoid unnecessary conflict’: Mbeki calls on EFF to protest peacefully during national shutdown In cases like this, one must look at the popular kids too and reflect on what they’ve done to the less popular ones to make them act that way. Were they bullies? Were they better at sports? Did their parents fund the new school astroturf? The EFF and its supporters have a number of justified and shared concerns about the country. While they’ll have you believe that this alone justifies whatever action they’re condoning, the logic doesn’t quite work out. I mean, you can love Jesus all you like but “Snorting Coke for Christ” wouldn’t be the best Christian manner of worship. You can hate Ramaphosa all you like but forcing a democratically elected president out by protest action isn’t the best form of democracy… not that they’re really that keen on democracy anyway. And that’s why el presidente’s comment that the only way to get him out is through a vote, is a great stand on his part. It’s just that, like we’ve come to realise, he’s rather good at taking verbal stands but is found to be lacking when he actually has to pick up the phone and do something. It’s exactly this that the EFF love playing on. It’s why they’ll cause a ruckus in Parliament and get thrown out and then narrate it in such a way that they were victimised even though I have no doubt that a President Malema would have far more security and act in pretty much the same way. We know there’s a reluctance to call the army on your own people – and we saw this during the riots in KwaZulu-Natal. The EFF knows it too, so even if they act in a manner that requires some ass-kicking on Cupcake’s part, he’d be reluctant to so much as lift a knee. And yes, I know it’s presumptuous to think that a justified protest will lead to violence but the EFF hasn’t exactly done much now nor historically to curtail such presumptions. The narrative set up is also incredibly bossy. If I don’t elect to take part in your action, it’s my fault that my shop will be looted? That your cause and your method is justified to the extent that everybody should be partaking is not only arrogant but itself, pretty presumptuous. It’s also a story so common that Athol Fugard turned it into a play back in 1989. ALSO READ: ‘We’re not barbarians, but we’ll be militant,’ says Vavi on Monday’s national shutdown What the EFF may give us on Monday is the perfect opportunity for the president to show that he cares about law and order or that he cares more about his image. If it turns violent, will he do anything? What they’re certainly giving us is something far more reflective; what if the protest doesn’t turn violent? Will we all shame ourselves for making the presumptions that it would be? Will we take the EFF more seriously if the national shutdown is well attended and peacefully executed? Will we be willing to take bets on that now? Surely, Julius Malema isn’t that arrogant that he thinks his side will win a turf war against the ANC. They still have huge numbers so he has little incentive to get violent, but believing you can control a bunch of angry and abused South Africans is arrogant itself. Monday will be interesting any way it unfolds, but how the president reacts is going to tell us a lot about the man that is supposed to be leading us. Read the full article