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With so many young playwrights, the true craft of writing for living voices is not what it used to
With so many young playwrights, the true craft of writing for living voices is not what it used to
With so many young playwrights, the true craft of writing for living voices is not what it used to
With so many young playwrights, the true craft of writing for living voices is not what it used to
With so many young playwrights, the true craft of writing for living voices is not what it used to
With so many young playwrights, the true craft of writing for living voices is not what it used to
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Athol Fugard:
'Master Harold' is about me as a little boy, and my father, who was an alcoholic. There's a threadAthol Fugard:
Every boy needs a role model that he can be proud of and talk about to the other kids in the playgrAthol Fugard:
Night-time is when I brainstorm; last thing, when the family's asleep and I'm alone, I think aboutAthol Fugard:
The toughest challenge I faced came right at the beginning of my career with 'Blood Knot,' which waAthol Fugard:
In South Africa, success never presented the problems that it presents in New York. In New York, ifAthol Fugard:
A very close friend of mine keeps reminding me that since about the age of 50, I've been saying, 'IAthol Fugard:
People come to the Fountain Theatre because they've got hearts that are working and they've got heaAthol Fugard:
I think all of my writing life led up to the writing of 'The Train Driver' because it deals with myAthol Fugard:
My life had been defined by the apartheid years. Now we were going into an era of democracy... andAthol Fugard:
You'll see that the strong, the affirmative, the positive voice in any of the plays I've written is