The tragic personal consequences of life under South Africa's apartheid laws are treated with honesty and deep compassion in these three landmark plays written and premiered in the early seventies. World-renowned dramatist Athol Fugard, along with his actor/collaborators John Kani and Winston Ntshona, has explored the painful particulars of his native land and created works with universal implications—plays that carry within them ringing cries for social and political change without ever uttering a word of political rhetoric.

- Sizwe Bansi is Dead reveals the perversities of human identity in a country where a man is equal to his passbook. - The Island celebrates the strength of man's connection to man, even within the dehumanizing confines of a prison cell on Robben Island. - Statements After an Arrest Under the Immortality Act depicts the shattering of two lives under the harsh glare of South Africa's miscegenation laws. All three works, developed and launched at The Space in Cape Town, have since been widely produced in the U.S. And abroad, and remain as urgent today as they were almost forty years ago.

Eglevsky Ballet Company of Long Island. First Chamber. Adelphi University, in Garden City, Long Island—to provide tuition. By Ronald Milner, Blood Knot by Athol Fugard,. Compromised standards of artistic and visual excel¬ lence.

There are three Athol Fugard plays here. Sizwe Bansi is Dead is amazing. I saw it performed at the BAM. The performance was really good - although a little slow at times. Reading it after having seen it was amazing. It is such a powerful play. Skin nuba so slyunoj.

I read The Island in undergrad and re-read it recently. It is an intense play - and the tie in to Antigone is great. The weakest of the three is Statements. Since I don't have any history with this one, maybe I just need to read it again to really get it. But first time through, it was only okay.

In general, these works show the power of Apartheid South Africa art. It's a powerful play, but the sustained nudity still bothers me - though not as much now as in the old days, and it's less assaultive on the page than on the stage. I'd forgotten that Ben Kingsley created the role of MAN in STATEMENTS. He played opposite Yvonne Bryceland, whom I never got to see on stage.

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Haven't re-read the other two plays in this collection yet. I remember seeing SIZWE BANZI IS DEAD in NY in 1968. It was powerful, though it needed a bit of pruning. THE ISLAND is a fabulous play. I look forward to re-reading it.