Athol Fugard
Athol Fugard
Harold Athol Lanigan Fugard OISis a South African playwright, novelist, actor, and director who writes in English. He is best known for his political plays opposing the system of apartheid and for the 2005 Academy Award-winning film of his novel Tsotsi, directed by Gavin Hood. Fugard is an adjunct professor of playwriting, acting and directing in the Department of Theatre and Dance at the University of California, San Diego. For the academic year 2000–2001, he was the IU Class of...
NationalitySouth African
ProfessionPlaywright
Date of Birth11 June 1932
Night-time is when I brainstorm; last thing, when the family's asleep and I'm alone, I think about the next day's writing and plan a strategy for my assault on the blank page.
I think all of my writing life led up to the writing of 'The Train Driver' because it deals with my own inherited blindness and guilt and all of what being a white South African in South Africa during those apartheid years meant.
I'm giving up acting. . . . I'm 66 and there are a number of celebrations I've got to get down on paper, and acting doesn't allow me to do that. It was a hell of a drug, performance. It's a great thrill, especially for a storyteller. But it can go. Directing can go. Writing can't go. And in terms of what lies ahead, I want to have a burning focus - almost like smoke coming up from the paper as I write.
How thin and insecure is that little beach of white sand we call consciousness. I've always known that in my writing it is the dark troubled sea of which I know nothing, save its presence, that carried me. I've always felt that creating was a fearless and a timid, a despairing and hopeful, launching out into that unknown.
Anybody who thinks there's nothing wrong with this world needs to have his head examined. Just when things are going all right, without fail someone or something will come along and spoil everything. Somebody should write that down as a fundamental law of the Universe. The principle of perpetual disappointment. If there is a God who created this world, he should scrap it and try again.
Love is the only energy I’ve ever used as a writer. I’ve never written out of anger, although anger has informed love.
A very close friend of mine keeps reminding me that since about the age of 50, I've been saying, 'I'm finished. I haven't got another one in me.' But somehow you do.
I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.
In South Africa, success never presented the problems that it presents in New York. In New York, if you happen to be the flavor of the month, a lot of nonsense comes with it into your life.
My life had been defined by the apartheid years. Now we were going into an era of democracy... and I believed that I didn't really have a function as a useful artist in that anymore.
From early on there were two things that filled my life - music and storytelling, both of them provoked by my father. He was a jazz pianist and also a very good storyteller, an avid reader. He passed both those interests on to me.
You cant legislate into existence an act of forgiveness and a true confession; those are mysteries of the human heart, and they occur between one individual and another individual, not a panel of judges sitting asking questions, trying to test your truth.
There is a desperate tendency to try to legislate artists, to try to lay down rules for their obligations to society. Just leave artists alone. If you are a true artist, you will have a very finely tuned moral mechanism.