August Wilson's The Piano Lesson details a family struggle between brother and sister of their prized family legacy. Wilson creates vividly dynamic and diverse characters, each with their own identity and standards, as he creates a dynamic culture and lifestyle of the family and their history. As in The Janitor, Wilson pays special attention to dialect while writing dialogue, emphasizing their manner of speech and distinct language.
To further emphasize a dynamic black history, Wilson incorporates music and song as if a source of documentation and time line for the family. Wilson's characters mention the boogie-woogie on the piano, traditional slave songs, the blues, and traveling songs. The piano itself represents the trading of human beings for material possessions as well as the family's genealogy. It is the source of conflict between Boy Willie and Berniece, and it becomes Berniece's altar as she resurrects her relationship with the ancient piano while pleading for help from her ancestors.
Sunday, August 30, 2009
Thursday, August 27, 2009
Glad I'm not in the Philadelphia..
David Ives is one hilarious man. I couldn't ask for more wit.
Simply reading the play is an absolutely, wonderfully humorous experience; I can't imagine what good some fantastic actors and perfect timing can do for it. It was definitely not what I expected, that the answer to your horrible day is, "Well, you see, you're in a state of being, a metaphysical city. It's obvious. All-you-can-eat-cheese steak." Not exactly appetizing.
The personification and description of the city as a quasi limbo is extremely clever. Who really would want to be stuck in the Philadelphia?
Heck, a Cleveland wouldn't be my first choice of being either.
Simply reading the play is an absolutely, wonderfully humorous experience; I can't imagine what good some fantastic actors and perfect timing can do for it. It was definitely not what I expected, that the answer to your horrible day is, "Well, you see, you're in a state of being, a metaphysical city. It's obvious. All-you-can-eat-cheese steak." Not exactly appetizing.
The personification and description of the city as a quasi limbo is extremely clever. Who really would want to be stuck in the Philadelphia?
Heck, a Cleveland wouldn't be my first choice of being either.
The Janitor - August Wilson
"His speech is delivered with the literacy of a janitor."
August Wilson says nothing of Sam's appearance. Characterization is crafted merely from Sam's dialect and Wilson's careful choice in regards to syntax and language. Sam initially appears to be a stereotypical janitor, or what society expects a janitor to be. The audience assumes he is an uneducated, middle-aged man with a lowly profession.
Sam's words are profound. He speaks with the wisdom which comes only from old age, time, and one "..who has approached life honestly, with both eyes open." Wilson's message is obvious; society places little value on those deemed irrelevant to it as a whole, or those who appear to have little of importance to offer. Sam is neglected into a janitorial position, and his years of wisdom are left unheeded in an empty ballroom.
Each person has some amount of worth, some originally vital words or experiences to tell. We leave such value ignored, heeding to our culture's trivial emphasis on importance of rank in a social hierarchy.
August Wilson says nothing of Sam's appearance. Characterization is crafted merely from Sam's dialect and Wilson's careful choice in regards to syntax and language. Sam initially appears to be a stereotypical janitor, or what society expects a janitor to be. The audience assumes he is an uneducated, middle-aged man with a lowly profession.
Sam's words are profound. He speaks with the wisdom which comes only from old age, time, and one "..who has approached life honestly, with both eyes open." Wilson's message is obvious; society places little value on those deemed irrelevant to it as a whole, or those who appear to have little of importance to offer. Sam is neglected into a janitorial position, and his years of wisdom are left unheeded in an empty ballroom.
Each person has some amount of worth, some originally vital words or experiences to tell. We leave such value ignored, heeding to our culture's trivial emphasis on importance of rank in a social hierarchy.
Tuesday, August 25, 2009
"Punch those arms in, baby" sounds better in Spanish.
The Cuban Swimmer by Milcha Sanchez-Scott details 19-year old Margarita Suarez as she swims the journey from San Pedro to Catalina Island, all the while her Cuban family hovers over her, urging on her unfailing continuation.
While Margarita swims, her father shouts direction and encouragement, coaching and coaxing her on. Margarita's limited dialogue between the family, save for her interjections of, "Papi, Papi!" and hallucination of fish whispering about her emphasizes her virtual lack of independence. In this way, Margarita's fight and self-control are pushed into the background as the audience is forced to focus on the other family members and their inner drama. Margarita leads her family on the boat on its course to the shore, becoming a beacon for her family.
Sanchez-Scott allows the audience a window into the Cuban culture and their religious devotion. Incorporation of Spanish dialect, most frequently seen in the character of the Abuela, as well as consistent religious themes and prayer, allow for further glimpses into the general culture, as well as allows for emotional ties between audience and character.
The climax of the play comes with the supposed disappearance of the family's one hope - their 19-year old daughter, granddaughter, sister, swimmer. Margo's break from her family allows for her own growth and establishment of self, away from her father's shouts, her brother's interjections fashioned to hide his jealousy, her mother's fears and worries, and her Abuela's "Ay Dios mio"s. Her submission to the pain and complete isolation allows her to tap into her own strength. Margo's repetition of her family's words of encouragement and her responses of defeat at the conclusion of Scene V allows for an inner glimpse into her personal trial. Sanchez-Scott's focus as such on each character throughout the play heightens the intensity of the situation and offers the audience a further understanding of the complex family, an understanding otherwise left unknown if incorporated into normal dialogue.
While Margarita swims, her father shouts direction and encouragement, coaching and coaxing her on. Margarita's limited dialogue between the family, save for her interjections of, "Papi, Papi!" and hallucination of fish whispering about her emphasizes her virtual lack of independence. In this way, Margarita's fight and self-control are pushed into the background as the audience is forced to focus on the other family members and their inner drama. Margarita leads her family on the boat on its course to the shore, becoming a beacon for her family.
Sanchez-Scott allows the audience a window into the Cuban culture and their religious devotion. Incorporation of Spanish dialect, most frequently seen in the character of the Abuela, as well as consistent religious themes and prayer, allow for further glimpses into the general culture, as well as allows for emotional ties between audience and character.
The climax of the play comes with the supposed disappearance of the family's one hope - their 19-year old daughter, granddaughter, sister, swimmer. Margo's break from her family allows for her own growth and establishment of self, away from her father's shouts, her brother's interjections fashioned to hide his jealousy, her mother's fears and worries, and her Abuela's "Ay Dios mio"s. Her submission to the pain and complete isolation allows her to tap into her own strength. Margo's repetition of her family's words of encouragement and her responses of defeat at the conclusion of Scene V allows for an inner glimpse into her personal trial. Sanchez-Scott's focus as such on each character throughout the play heightens the intensity of the situation and offers the audience a further understanding of the complex family, an understanding otherwise left unknown if incorporated into normal dialogue.
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