Athol is a Scottish surname and the name of several places:
Athol Fugard (born 11 June 1932) is a South African playwright, novelist, actor, and director who writes in English, best known for his political plays opposing the South African system of apartheid and for the 2005 Academy-Award winning film of his novel Tsotsi, directed by Gavin Hood. He is an adjunct professor of playwriting, acting, and directing in the Department of Theatre and Dance at the University of California, San Diego. For academic year 2000–2001, he was the IU Class of 1963 Wells Scholar Professor at Indiana University, in Bloomington, Indiana. The recipient of many awards, honors, and honorary degrees, including the 2005 Order of Ikhamanga in Silver "for his excellent contribution and achievements in the theatre" from the government of South Africa, he is also an Honorary Fellow of the Royal Society of Literature.
Athol Fugard was born as Harold Athol Lanigan Fugard, in Middelburg, Eastern Cape, South Africa, on 11 June 1932, to Irish and Afrikaner parents; his mother, Elizabeth Magdalena (née Potgieter), an Afrikaner, operated first a general store and then a lodging house; his father, Harold, was a disabled former jazz pianist of Irish, English and French Huguenot descent. In 1935, his family moved to Port Elizabeth. In 1938, he began attending primary school at Marist Brothers College, a private Catholic school founded by the Marist Brothers; after being awarded a scholarship, he enrolled at a local technical college for secondary education and then studied Philosophy and Social Anthropology at the University of Cape Town, but he dropped out of the university in 1953, a few months before final examinations. He left home, hitchhiked to North Africa with a friend, and then spent the next two years working in east Asia on a steamer ship, the SS Graigaur, where he began writing, an experience "celebrated" in his 1999 autobiographical play The Captain's Tiger: a memoir for the stage.
Cocteau Twins were a Scottish alternative rock band active from 1979 to 1997, known for innovative instrumentation and atmospheric, non-lyrical vocals. The original members were Elizabeth Fraser (vocals), Robin Guthrie (guitar, drum machine) and Will Heggie (bass guitar), who was replaced by Simon Raymonde (also bass guitar) early in the band's career.
While the entire band earned much critical praise, Elizabeth Fraser's distinctive vocals received the most attention. At times barely decipherable, Fraser seemed to veer into glossolalia and mouth music. Allmusic reviewer Ned Raggett writes that "part of her appeal is how she can make hard-to-interpret lyrics so emotionally gripping."
Robin Guthrie and Will Heggie (bass guitar), both from Grangemouth, Scotland, formed the band in 1979. At a local disco, Nash, they met Elizabeth Fraser, who would eventually provide vocals. The band's influences at the time included Joy Division, The Birthday Party, Sex Pistols, Kate Bush, and Siouxsie and the Banshees. The band was named after the song "The Cocteau Twins" by fellow Scotsmen 'Johnny and the Self-Abusers' (who later renamed themselves Simple Minds; the song "The Cocteau Twins" was also re-penned as "No Cure"). Their debut recording, Garlands (released by 4AD Records in 1982), was an instant success, as was the subsequent Lullabies EP. Around that time, NME's Don Watson compared the style of the band to goth bands like Gene Loves Jezebel and Xmal Deutschland.
Winston Ntshona (born 6 October 1941) is a South African playwright and actor.
Born in Port Elizabeth, Ntshona worked alongside fellow South African Athol Fugard on several occasions and played a minor role in Richard Attenborough's acclaimed film Gandhi.
Ntshona also played deposed President Julius Limbani, the subject of a rescue attempt in The Wild Geese (1978). Limbani is based on Moise Tshombe.
With Fugard and John Kani, Ntshona wrote the 1973 play The Island, in which he and Kani starred in a number of major international productions over the next thirty years. He and Kani were co-winners of the Tony Award for Best Actor in a Play for their performance in both The Island and Sizwe Banzi is Dead, which he also co-wrote.
Bonsile John Kani (born 1943) is a South African actor, director and playwright.
He was born in New Brighton, South Africa.
Kani joined The Serpent Players (a group of actors whose first performance was in the former snake pit of the zoo, hence the name) in Port Elizabeth in 1965 and helped to create many plays that went unpublished but were performed to a resounding reception.
These were followed by the more famous Sizwe Banzi is Dead and The Island, co-written with Athol Fugard and Winston Ntshona, in the early 1970s. He also received an Olivier nomination for his role in My Children My Africa!
Kani's work has been widely performed around the world, including New York, where he and Winston Ntshona won a Tony Award in 1975 for Sizwe Banzi Is Dead and The Island. These two plays were presented in repertory at the Edison Theatre for a total of 52 performances.
Nothing but the Truth (2002) was his debut as sole playwright and was first performed in the Market Theatre in Johannesburg. This play takes place in post-apartheid South Africa and does not concern the conflicts between whites and blacks, but the rift between blacks who stayed in South Africa to fight apartheid, and those who left only to return when the hated regime folded. It won the 2003 Fleur du Cap Awards for best actor and best new South African play. In the same year he was also awarded a special Obie award for his extraordinary contribution to theatre in the USA.
Ce mouchoir, je te l'ai offert
Le jour de ton anniversaire
Il est fait de dentelle fine
Léger comme la mousseline
Ce mouchoir, je l'ai vu tomber
L'autre soir du nouveau complet
De Cassio, quand il t'a conviée
A boire un verre et à danser
Desdemone, je t'aime comme personne
Je t'aime comme personne, je t'aime comme personne
Mais la jalousie fait sonner
Les trompettes de Jéricho dans le coeur de pierre d'Othello
Ce mouchoir, te l'a-t-il volé?
Ce mouchoir, lui as-tu donné?
Après tout, ce n'est pas un crime
Puisque c'est notre ami intime
Mais il paraît qu'on t'aurait vue
Avec lui, bras dessous dessus
Sortir d'un hôtel de banlieue,
Yago me l'a dit, des larmes plein les yeux
Desdemone, je t'aime comme personne
Je t'aime comme personne, je t'aime comme personne
Mais la jalousie fait sonner
Les trompettes de Jéricho dans le coeur de pierre d'Othello
Qu'as-tu fait, que n'as-tu pas fait?
Ces questions cent fois répétées
Font que j'ai peur, un de ces soirs,
D'aller trop loin sans le vouloir
Pour le voir cracher sa douleur
Dedans ce mouchoir de malheur
Que tu lui as donné un jour
Par amitié, ou qui sait par amour?
Desdemone, je t'aime comme personne
Je t'aime comme personne, je t'aime comme personne
Mais la jalousie fait sonner
How can you say that you love me,
When you never look me in the face.
How can you say that you need me,
When you've been messing around.
All over the place.
I went downtown yesterday,
And was walking in the marketplace
All the women they laughed at me,
They whispered that I was a disgrace.
You've been out all night drinking again,
You never even bother to call.
Been crossing blades with God knows who,
You're headed for your rise and fall.
Sooner or later I'll wake up,
And rub the sleep out of my eyes.
Later that day when you wake up,
You'll be in for a big surprise.
You talk about yourself all night,
When really you are such a bore.
You gave me flowers to my face,
Behind my back you call me a whore.
I've had enough of you God knows what,
I think it's time for you to leave.
I've forgiven you too many times before,
This time you get no reprive.
The bed's too big without you,
But I suppose it'll have to do.
Better to lay in an empty bed,
Than to spend another night beside you.
People talking all over town,
About the way you've been putting me down.
People talking all over town,
Othala
Das Rad des Lichtes ist längst versunken
Seine Finger so farbig verglüht
Das Rauschen der Haine, der Bäche, des Windes
Singt wispernd die Melodie dieser Nacht
Othala
Wir wachen um die Feuer Midgards
Wie nennt ihr Euch, daß ihr ertränkt
Was wir neu bewachen
Neu entfachen
Hoch über uns der prächt'ge Schleier
Aus gläsernen Gestirn
Wie scheue Augen begleiten sie uns
Wenn wir wachen um die Feuer Midgards
Unserer Welt
Die Flammen beleuchten zitternd denTau auf Gras und Farne
Die Wiesen erglühn' wie ein schimmerndes Meer
Aus Tränen des Firmanent's
Othala
Othala wir preisen Dich