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Of writing plays and decided to work more collaboratively with The Serpent Players. Goodbye (1965), Boesman and Lena (1969)-when he became frustrated with his method Passport was withdrawn again, and then again for four years, in 1967.īy the early 1970s, Fugard had written several of his best-known plays- Hello and Of Sophocles’ Antigone, which he had adapted and produced with The Serpent Players. Was denied a permit to enter the black township of New Brighton for the dress rehearsal Racially mixed casts and racially mixed audiences were forbidden. This association was made nearly impossible, however,īy the 1965 extension of the Group Areas Act, one of the principal apartheid statutes: both In 1963, Fugard began his long association with The Fugard and Mokae were still forced to travel separately,Īnd the government passed new laws limiting interracial theater in addition, Fugard had Yet, despite its notoriety, the playĬould hardly remove apartheid itself.
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The play’s powerful indictment of apartheidĪnd the fine performances of Fugard and Mokae were widely admired, and gainedįugard a reputation as a dramatist outside South Africa. Whom is light-skinned enough to “pass” for white. The issue of apartheid to a head when Fugard-a white man-collaborated with the blackĪctor Zakes Mokae in the play The Blood Knot (1961), a play about two brothers, one of The Circle Players worked in violation of South Africa’s apartheid laws. Town and undertaking theater work with the Circle Players. Town in 1953, traveled Africa, and worked as a seaman before returning to Cape Athol Fugard, John Kani, and Winston Ntshonaīorn in 1932, the South African playwright Athol Fugard left the University of Cape