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Fugard - Blood Knot and Other Plays

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    Blood Knot and Other Plays
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These three Port Elizabeth plays, which established South African playwright Athol Fugards international reputation more than twenty years ago, examine with passion and grace close family relationships strained almost unendurably by the harshest of economic and political conditions. A rare playwright, who could be a primary candidate for either the Nobel Prize in Literature or the Nobel Peace Prize.--Mel Gussow, The New Yorker.;Blood Knot; Characters and Play History; Scene One; Scene Two; Scene Three; Scene Four; Scene Five; Scene Six; Scene Seven; Hello and Goodbye; Characters and Play History; ACT ONE; ACT TWO; Boesman and Lena; Characters and Play History; ACT ONE; ACT TWO; Glossary.

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BLOOD
KNOT
andOTHER PLAYSBOOKS BY ATHOL FUGARDAVAILABLE FROM TCGThe Captains Tiger: A Memoir for the StageCousins: A MemoirExits and EntrancesA Lesson from AloesMarigolds in August and The GuestMy Children! My Africa!Notebooks: 19601977Playland and A Place With The PigsThe Road to MeccaSorrows and RejoicingsStatementsValley Song

BLOOD
KNOT and OTHER PLAYS __ ATHOL
FUGARD THEATRE COMMUNICATIONS GROUP
1991
Blood Knot is copyright 1963, 1964, 1985 by Athol Fugard
Hello and Goodbye is copyright 1970 by Athol Fugard
Boesman and Lena is copyright 1989 by Athol Fugard
Blood Knot and Other Plays is published by Theatre Communications Group,
Inc., 520 Eighth Ave., 84th Fl., New York, NY 10018-4156.
All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publisher.Professionals and amateurs are hereby warned that this material, being fully protected under the Copyright Laws of the United States of America and all other countries of the Berne and Universal Copyright Conventions, is subject to a royalty. All rights including, but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are expressly reserved. Particular emphasis is placed on the question of readings and all uses of this book by educational institutions, permission for which must be secured from the authors representative: William Morris Agency, 1325 Avenue of the Americas, New York, NY 10019;(212) 5865100.This publication is made possible in part with public funds from the New York State Council on the Arts, a State Agency.TCG books are exclusively distributed to the book trade by Consortium Book Sales and Distribution.Glossary reprinted from Selected Plays by Athol Fugard, by kind permission of Oxford University Press. Copyright 1987 by Dennis Walder.LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATAFugard, Athol.
Blood knot, and other plays / Athol Fugard.
Contents: Blood knotHello and goodbyeBoesman and Lena.
I. Title.
PR9369.3.F8A6 1991
822dc20 9029029
CIP
Cover design by The Sarabande PressFirst Edition, May 1991
Third Printing, February 2008
elSBN 978-1-55936-687-8CONTENTS
BLOOD
KNOT __
The Blood Knot (original title) was first presented in the United States by Sidney Bernstein and Lucille Lortel at the Cricket Theatre on March 2, 1964, under the direction of John Berry.

Set design was by John Bury, costume design by Martha Gould and lighting design by Harold Baldridge. The cast was as follows:

MORRISJ.D. Cannon
ZACHARIAHJames Earl Jones
The plays world premiere took place at the Rehearsal Room of the African Music and Drama Association, Johannesburg, South Africa, September 3, 1961, under the authors direction and with the following cast:
MORRISAthol Fugard
ZACHARIAHZakes Mokae
The 25th Anniversary Production of the revised Blood Knot was produced by the Yale Repertory Theatre, New Haven, Connecticut, September 17, 1988, also under the authors direction. Sets were designed by Rusty Smith, costumes by Susan Hilferty and lights by William B. Warfel. Mr.

Fugard and Mr. Mokae recreated their original roles.CHARACTERSMORRISZACHARIAHZachariah is dark-skinned and Morris is light-skinned.All the action takes place in a one-room shack in the non-white location of Korsten, Port Elizabeth. The walls are a patchwork of scraps of corrugated iron, packing-case wood, flattened cardboard boxes, and old hessian bags. One door, one window (no curtains), two beds, a table and two chairs. Also in evidence is a cupboard of sorts with an oil-stove, a kettle and a few pots. The shack is tidy and swept, but this only enhances the poverty of its furnishings.

Over one of the beds is a shelf on which are a few books (including a Bible) and an alarm-clock.SCENE ONELate afternoon.Lying on his bed, the one with the shelf, and staring up at the ceiling, is Morris. After a few seconds he stands up on the bed, looks at the alarm clock, and then lies down again in the same position. Time passes. The alarm rings and Morris jumps purposefully to his feet. He knows exactly what he is going to do. First, he winds and resets the clock, then lights the oil stove and puts on a kettle of water.

Next, he places an enamel washbasin on the floor in front of the other bed and lays out a towel. He feels the kettle on the stove and then goes to the door and looks out. Nothing. He wanders aimlessly around the room for a few more seconds, pausing at the window for a long look at whatever lies beyond. Eventually he is back at the door again and, after a short wait, he sees someone coming. A second burst of activity.

He places a packet of footsalts beside the basin and finally replaces the kettle.Zachariah comes in through the door. Their meeting is without words. Morris nods and Zachariah grunts on his way to the bed, where he sits down, drags off his shoes, and rolls up his trousers. While he does this, Morris sprinkles footsalts into the basin and then sits back on his haunches and waits. Zachariah dips his feet into the basin, sighs with satisfaction, but stops abruptly when he sees Morris smile. He frowns, pretends to think, and makes a great business of testing the water with his foot.ZACHARIAH.

Not as hot as last night, hey?MORRIS. Last night you said it was too hot.ZACHARIAH [thinks about this]. Thats what I mean.MORRIS. So what is it? Too hot or too cold?ZACHARIAH. When?MORRIS. Luke-ish. [Bends forward and smells.] New stuff?MORRIS. [Bends forward and smells.] New stuff?MORRIS.

Yes.ZACHARIAH. Lets see.[Morris hands him the packet. Zachariah first smells it, then takes out a pinch between thumb and forefinger.]Its also white.MORRIS. Yes, but it is different stuff.ZACHARIAH. The other lot was also white, but it didnt help, hey?

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