IB English 8, HL
Drama Notebook: "MasterHarold". and the boys
l.
As you did with Beloved, answer the following questions as you read and re-read the play.
The purpose of this drama notebook is to look at both the content and craft of the play and,
in particular, to explore the ways Fugard uses the tools and art of drama to create the
powerful ideas and emotions conveyed in the play. A simple question you might ask yourself
is, "What makes this play work? This will help us analyze the dramatic loqic of the key
moments, details and dramatic skills Fugard uses in the play, as help us dig into the subtext
of play. (See definitions that follow.)
Dramatic Logic: The sense in which all elements of the drama-moving together at any
Athol Fugard with original cast members
given moment--contribute purposefully toward a focus, a specific goal that the playwright
John Kani and Winston Nitosha in 1973.
has in mind.
Subtext: The concept that much of what is really meant, thought, or felt by characters in a
drama is submerged-by the playwright-just below the surface of the lines the characters actually speak.
-
Section #I
:p. 3 [opening of play] p. 24 [Sam: "You tried to be better than me."]
Question I:What questions are posed by the title.. .including the use of quotation marks, "nonstandard
capitalization," etc.
Question 2: What does the opening scene with Willie and Sam (both before anv lines are spoken and in
their prelirr~inaryinteraction) set up? In other words, what is established about the characters before Hally
enters? Consider here, especially, props and the staging of characters (their initial "attitudes" and
placements.
Question 3: What does the focus on ballroom dancing both reveal at the present and help prepare us for
later? Comment on the juxtaposition of ballroom dancing as Sam characterizes it with the reality of working
with partners as Willie describes. What does Fugard gain from this contrast?
Question 4: When Halley enters, we might expect a tidy, polished student, but his attire is a mess. [Note:
This is not necessarily the way he's portrayed in the video version.] Why does Fugard make a point of
including Halley's appearance in the stage directions? What, in other words, is the dramatic logic of his
costuming here?
Question 5: Explore how the dialogue involving Hally's father (pp. lo+) actually tells much of the story of
Hally's family history. How does Fugard say a lot by saying very little? (Subtext!)
Question 6: What use does Fugard make of the cornpa~isonsof whippings @p. 14-15)?
Question 7: What is the dramatic logic behind the extensive dialogue concerning "men of great magnitude?
[pp. 16-23]
-
Section #2: p. 24 [Hally: "The old Jublilee Boarding House." p. 39 [Hally: "'There's more to life than
trotting around a dance floor..."]
Question 8: How does Fugard use the sharing of memories about the Jubilee Boarding House? (Refer to
pp. 24-top of 28, so don't venture into the kite story). Fugard has his characters construct a kind of "play
within a play" (see Halley's comment about 'so much for the stage directions" (p. 27). Why does he use
these kinds of terms?
Question 9: Whafs the dramatic logic behind the kite story? Halley sees himself and Sam as characters in
a short story-and then adds Willie. Why does Fugard have Halley reconstructthis memory in these terms?
Question 10: How does the telephone work as a prop here (pp. 32-34). What's the effect of keeping
Halley's mother off-stage, even though she's clearly an important presence of some sort?
Question I 1:As Halley supposedly begins his homework, Sam and Willie return to the issue of Willie's
dancing. How does Fugard use this brief interlude (bottom of p. 35-top of p. 38)? What does this reveal
about the relationship between Willie and Sam? about Sam's character?
Question 12: Analyze the subtext of Halley's comment, "How the hell am I si~pposedto concentrate with the
two of you behaving like bloody children?" (p. 38). Stretch this as far as you can, into as many thematic
implications as possible.
Section #3: p. 39 [Sam: "lt's a harmless pleasure, Hally."] - p. 53 [Hally: "lt's going to stop right
now."]
Question 13: What is Halley's definition of art? To what does it appeal? What is Sam's? How does Fugard
use this contrast?
Question 14: Analyze the subtext of Sam's comment that Halley's "imagination hasn't helped [him] at alln (p.
41). Why does Sam consider Halley's perspectrve deficient? How is this comment about more than just
Halley's pab-onizing attitude toward dancing? Note that later on Hally says, We'll just have to use our
imaginations and hope for the best" (p. 45). Explore the implicdons of Piis statement. Does Hally know
what he's saying?
Question 15: WhaPs the significance 01Halley's decision to use the ballroom dancing competition as the
subject for his essay? In what sorts of terms does he see his composition? (See 'but to build the tension
and suspense I need facts ..."[p. 431.) How do Sam and Willie help him see the drama and "theatricality" of
the event as well (p. 44). Stop your discussion at the middle of p. 45.
Question 16: Examine Sam's comments about the connection between dancing and life (bottom of p. 45bottom of p. 47). How does Fugard use this complicated metaphor? To what else does it connect in the
play?
Question 17: Compare Hally's conversation on the phone with his mother to his dialogue with Sam and
Willie? How does Fugard use this contrast?
Question 18: How does Hally's readion to his mother's news @. 49-top of p. 53) illustrate the degree to
which Halty's been able to apply the lessons presented to him by Sam? How does Fugard use dramatic
irony in this scene?
-
p. 60 [end of play]
Section #4: p. 53 [Hally: "You're a servant in here..."]
Question 19: Why does Hally suddenly demand to be called "Master Harold"? Why does Sam say, "If you
niake me say it once I'll never call you anything elsen (p. 54). What is at stake here?
Question 20: Why does Hally repeatthe racist joke(p. 55)? How do you-as reader and audience
member--react to Sam's response (p. 56)?
Question 21:Sam's two longest, mast direct speeches occur toward the very end of the play (pp. 57-8).
How and why does Fugard both continue to use an earlier story and its larger metaphor (the kite) and drop
- .
all attempt to use subtext in favor of explicit comment?
Sam's concluding comment to Hally (pp.59-60). How does Fugard use this
Question 22: Comment on
to tie together the two themes of race and family?
Question 23: Discuss the significance of the play's final moment between Sam and Willie after Halley's exit
(p. 60). Why does Fugard have the play return to ballroom dancing? Why does Fugard have W~llie
reconsider his attitude toward Hilda?
Question 24: Consider the song (p. 60). What are its dramaticlthematic functions? (Remember the play's
opening.) Why does the play end this way?
IB-style art-of -drama writing prompt: "As the action of a play unfolds, dramatic tensions, thematic ideas and strong
emotions are often produced by t h e playwright's use of concealment and revelation." Discuss and interpret "Master Harold" ...
and the boys in light of this statement.