Master Harold and the Boys Essay

Master Harold and the boys, by the colour South African playwright Athol Fugard, is a naturalistic play jell in a Tea elbow room in Port Elizabeth on a rainy day in 1950. Two black servants, surface-to-air missile and Willie, and their white masters son Hally (Master Harold), oblige mystical conversations about the good date they had together when Hally was young. In the beginning of the play, surface-to-air missile and Willie, practice their dancing techniques and talk about an upcoming dance contest. Fugard has created off brand printing designs of situation and characters in the initiation of the play by using set design, stage directions, negotiation as well as lecturing and tone. The opening of the play is interpreted as being up to Hallys outgrowth entry. Firstly, the unprofessional and for the earshot surprisingly casual and light-hearted situation is created by Fugards choice of set design, stage directions and duologue. Secondly, surface-to-air missile and Willi es relationship is proved of unequal status, yet intimate and deep, by the difference in nomenclature and tone, and by the choice of topics in the duologue. Finally, initial perceptions of a childish and rude(a) Willie and an intelligent and experienced surface-to-air missile are constructed through mostly speech and tone.The unprofessional impression of the Tea Room and the carefree and easy exit ambiance is created by set design and stage directions, and duologue. Firstly, the amateurish impression of the business is created by the blackboard on which an untrained hand has chalked up the prices of the items, and by the few sad ferns in pots in the room. Furtherto a greater extent, the fact that Fugard has elect to clear all tables to one side, suggests that the business is not doing well, beca drill the Tea Room is not comparablely to be expecting any customers. Secondly, the consultation notices immediately that the modal value in the room is casual, by letting Willie star t off with apprisal a song as he mops down the floor.This sanitary idea is then reinforced when Willie suddenly gets up and starts dancing, surface-to-air missile eagerly promote and correcting Willies dance technique. The audience must have been surprised by this casual situation, because one must not forget that at the sentence of the performance, around 1982, apartheid in South Africa was considerably further developed than the backdrop of the play. The fact that two black men, obviously workers, are without supervision of a white person and that they are enjoying themselves during work must have raised(a) a sense of unease from the spectators, unsure how to react.The relationship betwixt Sam and Willie is profound, yet Sam seems to have a higher status compared to Willie, as suggested by Fugards choice of topic of conversation and by the lineage between the terms of address and personal position. To begin with, the representation in which both men communicate is real ly informal. Willie uses plenty of swear words, like fuckin whore or bitch, whereas Sam uses a higher register, merely is still joking around with Willie (Hows your pillow with the quickstep?). This use of language suggests that both men feel at ease and that they have known each other for a very long time already. A sense of intimate relationship is also created by the topics of conversation. Willie is very open with Sam about his relationship with Hilda Samuels, as when he talks about the problems buying food for their baby of which he isnt regular sure it is his son (Only his hair looks like me.) he shows no hesitation to discuss the matter with Sam.Sam even knows that Willie often trounce up his girl, suggesting that they have been living alongside for a long time. The audience realises that it is watching an intimate conversation, which makes them attentive, curious and involved in the discussion. Secondly, Sams higher social position is suggested by the rail line between the way Sam addresses Willie and vice versa, almost like a teacher-student relation. Sam suggests improvements for Willies dance technique, as Dont look down or But youre also stiff, as well as how he could be more successful in his relationships with girlfriends (You hit her too much.) and Willie reacts willingly to take up the advice.Also, Sam demonstrates the dance as it should be, suggesting that Sam is more experienced. Lastly, a subtle but symbolic detail is the physical positioning of Sam and Willie at the very beginning of the play Willie is mop up down the floor on his knees, working, while Sam is flicking through a comic book, standing, and obviously not working. Fugard has visualised their relationship by the contrast between kneeling and sitting, and working and relaxing, and this can in fact be applied to the entire rest of the play.Sam is portrayed as a confident, intelligent and experienced character through his speech and tone. The way Sam guides Willie through th e learning process of the quickstep, and even demonstrates a much more accomplished dance than Willie, indicates he is a skillful dancer himself. Fugard has do the audience feel sympathy towards Sam, as he encourages Willie, Look happy, Willie unbend Willie, although Willie is a hopeless dancer.Fugard represents Willies character as slightly vulnerable, unexperienced, and as a bad lover through his reactions to Sams teasing, the difficulties he has with learning the quickstep and through his description of his relationship with girlfriends. Willie is very quickly frustrated by Sams advice, like Yesterday Im not straight today Im too stiff and I try hard because it is hard.. Willies incapability to administer with Sams teasing once even results in a small brawl between the two of them Its finish between us. Furthermore, Willie is clearly a bad love partner, confirmed when he describes his girlfriend as a whore and a bitch, but which is, rather ironically, provoked by himself hi tting his girlfriend every once in a while. This, together with his vulgar choice of language, results in an aversion from the audience to Willie.To conclude, Fugard has managed to create strong first impressions in the opening of the play in terms of situation and characters. He has used set design, stage directions and duologue to create an unprofessional and casual ambience. In terms of characters, Fugard has succeeded in associating strong characteristic features to Sam and Willie, both intimate friends, yet separated in a way by an intellectual line.