Master Harold And the Boys by Fugard

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The claims for the inclusion of MHATBs’ in a specified course of secondary school English study are entirely justified. This play by Fugard, while set in the specific South African locale of Port Elizabeth, reflects the universal and age-old tensions, which exist between those who occupy a dominant position in society and those who do not. These tensions are brought into even sharper focus by issues of race. In addition, Fugard has crafted both character and dialogue expertly to enhance the dramatic tension. Lastly, the playwright demonstrates considerable adroitness in the use of motifs to provide an extra dimension to themes, character and dialogue. It is on these grounds – themes, character and dialogue, and the use of motifs – that the case for MHATBs’ inclusion in a course of study will be supported.

Conflict forms the basis for most novels and plays, and MHATBs is no exception. In this play, however, the major vehicle for conflict is the existence of apartheid in South Africa. Apartheid was a term used euphemistically by the Botha government. It means ‘separate development’, but the practical application of it ensured that the white minority maintained its dominant position, at the expense of the black, Cape coloured and Asian majority. This is indeed fertile soil for the spade work of any dramatist, but it does not provide a guarantee against clumsy development or poor writing. Fugard’s major victory is to take an already powerful issue and deal with it in an equally powerful, and yet sometimes subtle and sensitive way. The features of racism are often blunt, as they are for example in Courtney’s novel, The Power of One. It is hard to mask racial hatred. Fugard, however, demonstrates that racist sentiments can often be conveyed more subtly through attitudes and interaction. Hally, for example, makes many comments that he would in no way regard as prejudiced. We, however, know differently. Example: kite.
The waters of racism are further muddied by the fact that Sam and Hally have shared so many experiences that a real affection has developed between them. Fugard has spoken many times of a similar adolescent experience as being the wellspring for the play, not simply the experience of apartheid in general.

Prejudice can take many forms and Fugard is not content to explore its racial form alone. We never see Hally’s father on the stage, but we are in no doubt as to Hally’s opinion of him.

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