The Word and the Stage, or the Intermediate Transparency in The Blood Knot by Athol Fugard
By staging the confrontation between two brothers, one black and one white, in a South African apartheid context, Athol Fugard complements traditional dramatic interrogations on the artificiality of social roles with a compelling political question. This paper focuses on the function of fables used...
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| Publicat a: | URI:https://journals.openedition.org/ces, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicat: |
Commonwealth Essays and Studies
2021
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | By staging the confrontation between two brothers, one black and one white, in a South African apartheid context, Athol Fugard complements traditional dramatic interrogations on the artificiality of social roles with a compelling political question. This paper focuses on the function of fables used as a Brechtian distancing device in order to transpose one story, one situation, one conundrum, into another. Such transfers are working towards associating a shock effect with understanding. |
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