![]() Athol Fugard is a South African director, actor, and writer of more than thirty plays. He is best known for creating works confronting the racial segregation of apartheid, and today continues to pen insightful plays addressing modern inequality. Fugard grew up in Port Elizabeth, South Africa raised by an Irish father and Afrikaner mother. He studied Philosophy and Social Anthropology at the University of Cape Town, but dropped out to hitchhike across Africa and work as a deck hand on a steamer ship. In 1956, Fugard returned to Port Elizabeth and married actress Sheila Meiring, who nurtured his love of theatre. Optipoint serial treiber group. Optipoint Serial Treiber. Siemens Hipath 1120 Phone System and HiPath 1150 PBX Switchboard Systems for small offices and. Hunt group (linear/cyclic)Key programming on key phone. Music on hold. MW on each CLIP device. Night service. Number redial. Remote programming. Supports one phone device, which has to be connected via serial COM, USB or IP interface. Supports one line device. Supports device-specific extensions. OpenStage 40 HFA, optiPoint 500 standard, optiset E advance conference. OpenStage 60 HFA, optiPoint 500 standard SL, optiset E memory. ![]() Together they founded The Circle Players, for which Fugard wrote his first play, Klaas and the Devil (1956). The pair then moved to Johannesburg, where Fugard took a job as a clerk at the Native Commissioner’s Court. The Court dealt with black persons charged with violations of the Pass Laws that restricted their movements in apartheid South Africa, and gave a European judge the option of applying Native or Common law. Fugard was appalled by the injustices he witnessed in the court. While working as a stage manager for South Africa’s National Theatre Organization, Athol Fugard wrote Blood Knot (1961), the play that earned him international recognition. Fugard starred in the play alongside black actor Zakes Mokae, with whom Fugard would collaborate again on “ Master Harold”and the Boys (1982). As a result of the play’s criticism of apartheid, the South African government withdrew Fugard’s passport for four years. When he supported the Anti-Apartheid Movement’s boycott of segregated theatre audiences, the government further restricted his movements and the Secret Police began surveilling his theatre company. The second theatre company founded by Fugard was the Serpent Players, a group of all-black actors, all of whom held regular jobs in addition to working on stage. Among the troupe’s members was John Kani, who would later receive an Olivier Award nomination for his performance in Fugard’s My Children My Africa! and later wrote his own play dealing with post-Apartheid South Africa, (2002). The Serpent Players moved from venue to venue with minimal set, frequently performing Fugard’s plays in black townships, employing Brechtian theatrical principles of disillusion and social critique. The company’s name refers to their first venue, a former snake pit at a zoo. Fugard continued to write plays critiquing segregation, including The Coat (1966), and co-authored by John Kani and Winston Ntshona, Sizwe Bansi is Dead (1972). The latter was a play about staging Sophocles’ Antigone on Robben Island prison, where Nelson Mandela was held for twenty-seven years. Meanwhile, Fugard’s plays were produced to great acclaim in America and England. In 1972 Fugard was allowed to fly to England in order to direct his play Boesman and Lena (1969).
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