Athol Fugard Quotes
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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.
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I'm always in disguise in one form or another in my plays.
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I've always sensed for myself an obligation to bear witness to my time.
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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 have really a function as an artist, as a useful artist, in that anymore.
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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.
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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.
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Theater will never, and never has, gotten audiences like film. But theater goes to work on society in a different and more subversive way.
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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.
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Love is the only energy I’ve ever used as a writer. I’ve never written out of anger, although anger has informed love.
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I think the aloe is one of South Africa's most powerful, beautiful and celebratory symbols. It survives out there in the wild when everything else is dried.
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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.
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To know nothing about yourself is to be constantly in danger of nothingness, those voids of non-being over which a man walks the tightrope of his life.
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My essential identity is that of a writer.
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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.
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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.
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Creativity is very selfish. Scandalously so, in fact.
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As fascinated as I was by words on paper, it was matched by my fascination with words in people's mouths. The spoken word. And that is the world of theatre.
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What I quickly discovered is that our so-called new South Africa has as much material for a story-teller as the old one. The landscape hasn't really changed. Who is in power now is different to who was in power then, but the squatter camps grow like cancer, the rich get richer, the poor get poorer.
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Life is just a plain bloody mess, that's all. And people are fools.
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Every boy needs a role model that he can be proud of and talk about to the other kids in the playground.
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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.
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For you in the West to hear the phrase 'All men are created equal' is to draw a yawn. For us, it's a miracle. We're starting out at rock bottom, man. But South Africa does have soul.
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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.
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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.
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All of my life had been spent in the shadow of apartheid. And when South Africa went through its extraordinary change in 1994, it was like having spent a lifetime in a boxing ring with an opponent and suddenly finding yourself in that boxing ring with nobody else and realising you've to take the gloves off and get out and reinvent yourself.
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The things that converge in the writing of a play come from a complex of motives, a genesis shrouded in a certain kind of mystery.
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For most of my writing life, I've refused to allow myself to believe that writing was a significant form of action. I always felt very uneasy about the fact that all I did was write in a situation as desperate as apartheid South Africa. Whether I was correct or not is a different issue.
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If the nature of human experience changes with the color of a man's skin, then the racists have been right all along.
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Without white South Africa realizing what it had done - and on the basis of that realization having the courage to ask for forgiveness - there can really be no significant movement.
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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.
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