Characterization Through Stage Directions
In a well-written, -directed, and -acted play, characterization should happen not only through dialogue but also through the translation of stage directions into motivated actions. These can be as large as the relation of characters and props to one another in space and as small as facial expressions. Fugard provides strong characterization through stage directions, giving the director and actors room to interpret but stating clearly the attitudes of the characters. This can be seen in his contrasting descriptions of Thami and Isabel as they prepare to deliver their closing statements in the debate in the first scene. Of Thami, Fugard writes "HE is secure and at ease...His "concluding statement" is outrageous and he knows it and enjoys it" (p.8). This description shows Thami's intelligence, confidence, and sense of humor. Isabel, on the other hand, is out of her comfort zone, and Fugard writes, "SHE takes the audience with direct unflinching eye contact. SHE is determined not to be intimidated" (p.9). Though we learn later that she was surprised and uncomfortable at first in the location's school, she presents a powerful argument while embodying what she says about women's abilities.
Costumes
If one looks at the end of the play, a list of very specific costume notes are given, from notes on when characters change outfits entirely down to their underwear color in each scene. These visual details contribute to the tone of the play, creating certain mood-influencing color palettes and juxtaposing different characters. Almost all of the clothing is very formal, and there are very few colors used; most clothing is blue, white, black, gray, or tan. This means that any pops of color a director chooses to include, as costumes or props, will stand out. Furthermore, it gives direction in terms of the characters' comfort with one another as the play goes on; Isabel is written to have bare feet at the meeting that begins Act II and Thami wears casual clothing—a T-shirt, sweatshirt, and jeans—to his last meeting with Isabel.
The Location Through Isabel's Eyes
In terms of imagery through dialogue, this is mostly present during the characters' monologues to the audience, since the dialogue during multi-character scenes is much quicker and focused on plot and emotion rather than description. One moment of important imagery comes when Isabel describes the location. The location is an important setting for the play; it is the run-down area where black people from Camdeboo have been forced to live. Isabel describes it early in the play without much sympathy, saying, "Most of the houses—if you can call them that!—are made of bits of old corrugated iron or anything else they could find to make four walls and a roof. There are no gardens or anything like that. You've got to drive in first gear all the time because of the potholes and stones, and when the wind is blowing and all the dust and rubbish flying around...!" (p.20-21). The other characters who live in the location—Thami and Mr. M—do not give much description of the location because it has become normal to them. Through Isabel, we are able to see not only the bad conditions of the streets and buildings in the location, but also how they compare to what she is used to just miles away in the center of Camdeboo.
Childhood
Two scenes of strong imagery come when characters describe their childhoods. In a monologue to the audience, Thami describes his mental and emotional transformation between Standard 2 to Standard 10, especially with regard to his opinions on the education system under apartheid. He describes in vivid detail his joy at going to school as a child, his treatment by teachers, and the day he was asked to read an essay about his life in front of the school. Though Mr. M is much older, he also shares a childhood memory during the scene where Thami tries to convince him to leave the school and stop provoking the Comrades. He lapses almost into flashback as he describes standing on a mountain during a school trip and being told about the power of books by his own teacher. These two parallel moments of imagery immerse the reader or audience in the characters' experiences and how these experiences shaped their current personalities and opinions.
