الفهرس 
BARAKA’S AND FUGARD’S DRAMATIC TECHNIQUESOnly 14 pages are availabe for public view
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Abstract
This thesis attempts to shed light on the bitter social conditions under which blacks
lived in America during the period from the 1960s until now as depicted in Amiri
Baraka’s Dutchman and The Slave, and Athol Fugard’s master Harold . . . and the
boys, and My Children! My Africa! Through these plays, the playwrights try to point
out blacks’ victimization, oppression, humiliation and ill treatment at the hands of
whites. In dealing with the issue of racial prejudice, the thesis brings to light the very
devastating impacts of racism upon both blacks and whites in America and South
Africa.
Through the dehumanizing practices of racial discrimination, the thesis also
pursues the long historical process of plucking a lot of Negroes out of their own
motherland and implanting them in the New World unveiling the essential motivation
behind giving birth to the slavery of Africans. Moreover, the thesis pinpoints the
various reactions taken by blacks as types of salvation. Based on this, the thesis
unveils Baraka’s and Fugard’s notion of salvation as crystallized in revolutionary acts
exposing the illconsequences
of these acts on both whites and blacks. Besides, the
thesis presents how Baraka and Fugard present their themes through their masterful
manipulation of the major technical innovations and diverse dramatic devices.