Criticism of Apartheid in Blood Knot in Comparison with Two Trains Running and Philadelphia, Here I Come!
|Original title:||Criticism of Apartheid in Blood Knot in Comparison with Two Trains Running and Philadelphia, Here I Come!|
|Field:||Art, architecture, cultural heritage|
|Type:||Article in Periodical|
|Keywords:||Apartheid; civil rights; drama; Brian Friel; Athol Fugard; Northern Ireland; postcolonialism; racism; South Africa|
The three plays' plots are from the same period and deal with marginalized groups and they are all critical to the regimes they "bear witness" of. Athol Fugard's Blood Knot and its portrayal of the apartheid, which is in the main focus of this paper, is analysed from the points of view of unfulfilled love, use of derogatory language and a desire for private space, that all contribute to the complex criticism of the racist regime of South African apartheid of the 1960s. The criticism, although implicit, becomes even more apparent and radical when presented in comparison with August Wilson's Two Trains Running and Brian Friel's Philadelphia, Here I Come!