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BOESMAN AND LENA BOOK

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Start by marking “Boesman and Lena” as Want to Read: Great play by Athol Fugard. June 11, , Middelburg, South Africa), better known as Athol Fugard, is a South African playwright, actor, and director. Boesman and Lena [Athol Fugard] on resourceone.info *FREE* Story time just got better with Prime Book Box, a subscription that delivers editorially hand-picked. Boesman and Lena and Other Plays (Oxford Paperbacks) [Athol Fugard] on Story time just got better with Prime Book Box, a subscription that delivers.


Boesman And Lena Book

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"Set on the Swartkops mudflats, just outside Port Elizabeth, the play deals with two squatters. They are on a journey with all their worldly possessions after their . Title, Boesman and Lena, by Athol Fugard: A Study Guide Guidelines study aids. Publisher, Guidelines, ISBN, , Length, Two Black scavengers emerge from the underbrush loaded with their total possessions: the makings of a shack and a battery of pots and pans, but nothing to.

Vorster, passed the General Law Amendment Act which prohibited cabinet members from giving evidence if it would be prejudicial to the interests of the public or state security. They also could not reveal, under punishment of law, any matter the Bureau of State Security was handling.

These kinds of restrictions insured secrecy among those in power and a greater hold on the populace. Despite such ominous security measures, there were forces moving against apartheid within South Africa. With members of color, both radical and moderate, the ANC countered apartheid using both political and terrorist tactics. Still, these organizations had problems organizing resistance or protest against the repressive policies because interracial contact was so difficult under the law.

The policy of apartheid was routinely condemned by most countries in the world, including the United States. African-American leaders, their own battles for civil rights still fresh in their minds, were outspoken in their opposition to such policies.

Yet it is something more than a black play. It is about a man and woman, husband and wife, on a path of life beset by constant adversity. Today: The ban on interracial marriage was lifted in South Africa in In , the percentage of interracial marriages in the United States was.

In the United States, President Nixon tries to delay efforts to desegregate schools. Today: In South Africa, laws are enacted to fairly redistribute land among its citizens of color.

A Study Guide for Athol Fugard's "Boesman & Lena"

In the United States, there is a controversial movement to end busing students to aid in the desegregation of schools. Today: Education for people of color is compulsory for students through age sixteen. The rubbish that this pair gathers is the detritus of experience. The play in a sense is like a dramatic poem in which nothing much happens except the deepening of this basic image to a point of utmost terror and pathos.

He is not saying that racial injustices do not signify; he is saying that those injustices are an extremity of the cruelty in all men. The reason that his play achieves towering height—as in the main it does—is because it includes the agony of apartheid and shows that apartheid is not devil-inflicted but man-made, and that Boesman is a man, too.

And this is true of Among them was T. Appalling calamities befall some people; yet they manage to make them sound drab and boring. Others possess the gift of making a minor mishap vividly compelling. Despite the twenty-three year gap since its debut, critics still found the play to be relevant, though the situation in South Africa had changed and apartheid polices had grown less oppressive.

Outside oppressors add to it, but we carry oppression within us. Though they are a couple, Boesman and Lena have no love lost between them. Boesman is impatient with Lena and often threatens her. He beats her regularly, and she has the bruises to prove it. Yet Lena stays with Boesman despite this mistreatment. Boesman tries to ignore her as much as possible. When she starts complaining about their walk and the loss of their home that morning to bulldozers run by white men, he threatens to leave her behind next time.

She is there to share the burden that is life and provide a convenient whipping post for his anger and frustration. Early in Act I, he accuses her of faking her need to rest so she could look for a dog that she had been feeding. But Lena wants more. She needs to know who and where she is. She wants her humanity back. One way she achieves this goal is physical appearance. Each bruise also has a past. They are reminders of where she has been and what she has done.

By counting them, as Lena does several times in the course of the play, she can recount something about her past. Lena also affirms her existence by talking aloud, mostly to herself since Boesman refuses to communicate with her for most of Act I. This practice allows her to remember the past, something Boesman wants to forget.

Unlike Lena, Boesman does not have to think about where he is. She recounts the places they have lived and attempts to reconstruct their chronological order. When she thinks she has gotten a segment of it correct, Boesman makes her doubt herself, first feigning disinterest in her triumph, then making her mix-up the cities. Hello and Goodbye, a play by Athol Fugard written in , is a drama that explores the lives and conflicts of a white brother and sister also living in Port Elizabeth, South Africa.

Exploring how apartheid is portrayed in various forms of literature, the book includes original writings on the subject. Lifetimes under Apartheid is a book published in which contains both non-fiction and fiction writing as well as photographs by Nadine Gordimer and David Goldblatt. The book explores how people lived under the restrictions of apartheid. The Smell of Apples, a novel by Mark Behr published in , explores life under apartheid in South Africa, highlighting events of Boesman will have none of it.

Even though the old man only speaks Xhosa, a language that Lena is unfamiliar with, she can talk at him. He manages to learn her name, which means she is a person with an individual identity. At the moment he learns her name, Lena decides the old man is truly her ally, her link to her humanity.

She gives him water, and they talk at each other. The old man listens to Lena reconstruct her past, which acknowledges that she is alive. Only a few words I know, but a long story if you lived it. Boesman will not let her cut their bread and tea into three parts, so she shares her food with the old man. Boesman throws his bread away and dumps his tea on the ground.

Lena gives up her share of their wine in exchange for Boesman allowing the old man to stay with them. By sacrificing for another, she has become human. But Lena is also violent towards the old man.

When he arrives in their camp, she yells at him to sit in an angry tone. When she first tries to talk to him, he can only respond in Xhosa, which frustrates her. She shows him her bruises, and expects him to laugh at the story behind one of them just as some white men did earlier in the day. When the old man does not, she lets her exasperation show.

When he tries to leave, she pushes him down and makes him stay. She needs, in some measure, to control Outa, the only sympathetic human contact she has received in a long time. He cannot leave them alone, especially once Lena has decided that she will give up her wine to keep the old man there. He tries to humiliate them at the beginning of Act II, making them say submissive words and mocking Lena, but it does no good. She questions his claims of freedom and is able to ask him questions like why he hurts her and why he hits her.

All Boesman has is Lena. Lena never lets the old man go. She was holding his hand when he died and felt him slip away. Lena now knows the physical difference between life and death, self and nothingness. Lena is more than Boesman thinks she is. After the old man has died, Lena can finally trick Boesman.

Lena makes Boesman doubt the moment he is living in. Lena then makes Boesman believe that the bruises could further implicate him. She has reclaimed her life from Boesman and now has power over him. While Boesman sold the bottles, Lena asked some white children if their mother needed a maid. She was rejected but swears she would have gone had a position been available. Lena was trying to leave Boesman again when she saw the old man wandering the flats. Finding him made Lena change her mind.

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But at the end of the play, Lena stays with Boesman. This happens only after he admits that he broke the bottles he accused her of breaking and after he tells her the order of places they have lived.

For Lena, it seems, the known is more scary than the unknown. She has found what she was looking for and to push her luck would not bring any discernable benefits. More importantly, Boesman is the only discernable link to her past. If she wants to continue her journey of self-exploration, she needs Boesman.

Also, Lena has held the hand of death and emerged alive. She ends the play with more than she began. Source: A. Petrusso, for Drama for Students, Gale, Thomas M.

The two acts are presented without intermission, and for once this practice seems justified by the resulting tautness. Too often, eliminating intermission is simply a way to prevent the audience from escaping.

I know of no other play that depicts the horror. Very little happens in Act I. In his absence Lena talks to herself, and in his presence she continues to talk to herself. Keith David as Boesman has the more difficult role, since he must somehow win our sympathy while glowering through most of Act I. He does, and when his glower finally explodes into speech he is tremendous. Lynne Thigpen turns these soliloquies into arias. Score one more for the Manhattan Theatre Club. Source: Thomas M. Disch, review of Boesman and Lena in the Nation, Vol.

She notes that it positively recalls the original production. LXVII, no. Almost nothing happens—as in Beckett—yet all the injustices of the world are encapsulated in it. Two South African Coloureds—neither black nor white but in between—are wandering about the mud flats with their few belongings on their backs. Sign Up. Sign In. Download the Study Guide. Download Lesson Plans.

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Author Biography. Plot Summary. Chapter Summaries. Free Quiz.

A Study Guide for Athol Fugard's Boesman & Lena

Historical Context. Critical Overview. Critical Essay 1.

Critical Essay 2. Critical Essay 3. Critical Essay 4. Topics for Further Study. Charnie rated it liked it Jun 18, Grant rated it liked it Aug 10, Maposholi Mokhethi rated it liked it Mar 20, Oct 16, Vera added it. This review has been hidden because it contains spoilers. To view it, click here. I did not enjoy this book at all. It was a mess of emotions and words. Although there was the potential for exploring both Lena and Boesman, I felt that regardless of its limits as a play the characters lacked depth and the story did not even though it was intended to end on a cliffhanger resolve to satisfaction, nor was there a lot of growth or development in the characters themselves.

It was much ado about nothing. Santi rated it it was ok Jul 05, There are no discussion topics on this book yet. About Athol Fugard. Athol Fugard. Harold Athol Lannigan Fugard b. His wife, Sheila Fugard, and their daughter, Lisa Fugard, are also writers.

He considers himself an Afrikaner, but writes in English to reach a larger audience. Hi Harold Athol Lannigan Fugard b.

His family moved to Port Elizabeth soon after he was born. In , he was enrolled at the Marist Brothers College — a Catholic primary school although he is not known to be a Roman Catholic.

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After being awarded a scholarship, he enrolled at the local technical college for his secondary education. He then enrolled in the University of Cape Town but dropped out. He sailed around the world working on ships mainly in the Far East. Fugard married Sheila Meiring, now known as Sheila Fugard, then an actress in one of his plays, in September She later became a novelist and poet in her own right.

They started the Serpent Players in Port Elizabeth before moving to Johannesburg where he was employed as a court clerk. Working in the court environment and seeing how the Africans suffered under the pass laws provided Fugard with a firsthand insight into the injustice and pain of apartheid.

Returning to Port Elizabeth in the early s, he worked with a group of actors whose first performance was in the former snake pit of the zoo, hence the name The Serpent Players. The political slant of his plays bought him into conflict with the government. In order to avoid prosecution, he started to take his plays overseas. After Blood Knot, was produced in England, his passport was withdrawn for four years. In , he publicly supported an international boycott against segregated theatre audiences which led to further restrictions.

He worked extensively with two black actors John Kani and Winston Ntshona and workshopped three plays viz. The early plays workshopped with Kani and Ntshona were staged in black areas for a night and then the cast moved to the next venue — probably a dimly lit church hall or community centre. The audience was normally poor migrant labourers and the residents of hostels in the townships.

The plays at this time were political and mirrored the frustrations in the lives of the audience. Fugard's plays drew the audience into the drama, they would applaud, cry and interject their own opinions. Fugard used feedback from the audience to improve the plays — expanding the parts that worked and deleting the ones that did not.She sees someone out walking on the mudflats, and Boesman comes to look.

Boesman and Lena by Athol Fugard

Fun Activities. Opale, Paris, Not all whites in South Africa agreed with apartheid. Charlene Mihi rated it it was amazing Sep 14,