Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 2002. Vol. 8. Eger Journal of American Studies.(Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 28)

Studies - Réka Cristian: Edward Albee's Castings

other. Fergus

7

5 is blond, handsome, healthy kid with a swimmer's body. He is also the enigmatic character, the blindspot and is he the homograph of the play (he is the one outside Daniel and Benjamin that shares not only the same game with them but has similar feature to them). The emblematic name of his mother veils him as the name of the author's enigma of the play. The ambiguities of the play do not stop at the character of the blindspot. The cast encounters other misplaced characters that Fergus senses to be problematic as well. Abigail, as the plain figure in the "complex twine" of human relationships in Finding the Sun, is married to Benjamin, whom she calls "a fairy". Cordelia and Daniel seem to share a sibling-type of relationship: " 'we're such good friends'... that isn't exactly your 7 ft usual marriage isn't precisely" , while the relationship of Daniel and Benjamin is explicitly stated in the play (they "were 'involved'", Henden says, "they were lovers"). He is present at the discussiongame of Benjamin and Daniel and proposes that the three of them "play catch". This is the game of their unsaid love, of the dramatic primal scene of the play. This game promotes the drama, i.e. the action, because it generates curiosity, the drive to know and to see the unsaid. The hidden love of the two men, as seen by Fergus, alternates with the beach ball game in which the ball and the words are both 'thrown' to each other. Fergus is the viewer of the game and he concludes the hidden fact: Fergus: I know. You two are presently married to those ladies over there, although... since the two of you have been... uh... intimately involved? There is a question floating around this particular area of the beach as to whether these marriages were made in heaven.

7

7 The rhetoric of love and hate is substituted in this drama by "pleasure into pain". This dictum is uttered by Fergus, who in his final The figure of Fergus strikingly coincides with that of the playwright from the Mel Gussow biography. The site of the boyhood is the same, the wealthy mother, the family and the private school and even the so-called WASP education the family wanted him to have. "A New England boyhood... wealthy mother and all, private school

, WASP education. ASP, to be precise", says Fergus in the play .{emphasis mine), Ibid., 22. 7

6 Ibid., 24. 7

7 Ibid., 26. 168