Athol Fugard, who recently passed away at the age of 92, was one of South Africa’s most celebrated playwrights. He was known for using his craft to address the harsh realities of apartheid, the oppressive system that divided his country. Fugard was born to an Afrikaner mother and dedicated his career to challenging injustice through theater.
South Africa’s Arts and Culture Minister, Gayton McKenzie, praised Fugard as a “fearless storyteller.” He highlighted how Fugard’s works illuminated the struggles of apartheid and inspired hope for change. Fugard wrote over 30 plays during his 70-year career, with “The Blood Knot” marking a turning point in 1961. This play was groundbreaking, featuring both black and white actors in a mixed audience long before apartheid’s rules made such performances illegal.
“The Blood Knot” brought Fugard international attention, leading to productions in the US and a British television adaptation. Despite government pushback, including the confiscation of his passport, Fugard remained committed to his mission of breaking down racial barriers.
He collaborated with the Serpent Players, a group of black actors, and frequently performed in black townships, even under threat from security forces. Other notable works include “Boesman and Lena,” which tells the story of a mixed-race couple and was later adapted into a film featuring Danny Glover. His novel “Tsotsi” also became an Oscar-winning movie in 2006.
Fugard’s plays like “Sizwe Banzi Is Dead” and “The Island,” co-created with actors John Kani and Winston Ntshona, are still revered today. Kani expressed his sorrow over Fugard’s passing, emphasizing the deep friendship they shared.
Throughout his life, Fugard received numerous awards, including a lifetime achievement honor at the Tony Awards in 2011. In the 1980s, Time magazine even hailed him as the greatest active playwright in the English-speaking world. Fugard once reflected on apartheid’s influence on his work, stating, “Apartheid defined me, that is true… But I am proud of the work that carries my name.”
After apartheid ended in 1994, he worried about finding new inspiration, but he continued to write, believing the need for thoughtful storytelling remained vital. In a 2010 interview, Fugard echoed the sentiments of Desmond Tutu, noting that South Africa still needed vigilant writers to address societal issues. He believed the responsibility now lay with younger playwrights to carry forward the legacy of using art for social change.
