Abstract
Athol Fugard, acclaimed as the greatest South African playwright in the English-speaking world, is best known for his political and penetrating plays opposing the system of apartheid. In his play No-Good Friday (1958) he presents the burning zeal of an incipient black revolutionary against the exploitation faced by the blacks. At the surface level, the play appears to be a mere representation of the conditions of the blacks; but at deeper levels, it records the helplessness of the blacks in the face of exploitation by their own fellow men during the conditions of the apartheid. Fugard presents the oppressive politics working on the life of the people of Sophia town in various forms by portraying the complex and evolving nature of submissiveness in the face of oppression and how the characters struggle to find a balance between survival and resistance. The play ultimately underscores the resilience of the human spirit and the transformative power of resistance in the face of oppressive systems.
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