Dutchman presents a stylized encounter that illustrates hatred between blacks and whites in America as well as the political and psychological conflicts facing black American men in the s. The play won an Obie Award as best American Off-Broadway play of ; it was made into a film in Set in a New York City subway car, the play involves Clay, a young, middle-class black man who is approached seductively by Lula, a white fellow passenger. Lula provokes Clay to anger and finally murders him. Info Print Cite. Submit Feedback.
|Published (Last):||10 June 2014|
|PDF File Size:||18.53 Mb|
|ePub File Size:||9.89 Mb|
|Price:||Free* [*Free Regsitration Required]|
The piece dissects the interaction between a black man and a white woman on a New York Subway car. Their conversation escalates throughout the ride, culminating in a violent end. We sat down with Stokes to discuss how representation of race and gender are critical aspects of Dutchman.
Before the rehearsal process began, we were talking about Lena Dunham as being a caricature of the modern, white feminist. Despite how much Clay defies stereotypes of what a black man is, he is still treated as though he is not as good as a white man wearing exactly the same outfit. That really connected to me, being a black woman in a predominantly white institution: the idea I have to work twice as hard to get half as much is very much represented in Clay.
Clay represents the necessary assimilation of survival. What was the inspiration behind the particular choreography in the dance sequence? The whole stage direction for that sequence is simply: blackout. So, the dance sequence was invented in the room. We explored what it meant for them to perform stereotypes of themselves for each other.
Ultimately, I think the sequence shows that it was easier for Lula to live in that space than Clay. I think that the play is saying that rage manifests in different ways. In my ideal world, the play would say to a white audience: this rage is valid and not evil. Carnegie Mellon University does not discriminate and Carnegie Mellon University is required not to discriminate in admission, employment, or administration of its programs or activities on the basis of race, color, national origin, sex or handicap in violation of Title VI of the Civil Rights Act of , Title IX of the Educational Amendments of and Section of the Rehabilitation Act of or other federal, state, or local laws or executive orders.
In Black and White
The piece dissects the interaction between a black man and a white woman on a New York Subway car. Their conversation escalates throughout the ride, culminating in a violent end. We sat down with Stokes to discuss how representation of race and gender are critical aspects of Dutchman. Before the rehearsal process began, we were talking about Lena Dunham as being a caricature of the modern, white feminist. Despite how much Clay defies stereotypes of what a black man is, he is still treated as though he is not as good as a white man wearing exactly the same outfit.
A Return to Rage, Played Out in Black and White
I wanted some kind of action literature. You look like you been trying to grow a beard. You look like you live in New Jersey with your parents and are trying to grow a beard. Laughs, uncrossing and recrossing her legs You look like death eating a soda cracker. We are also meant to understand that Baraka was indicting his own bohemianism here. The play is still a sensation. Projected across two panels blocking the stage are images from the New York subway system.
The play, which won an Obie Award. Dutchman was the last play produced by Baraka under his birth name, LeRoi Jones. At the time, he was in the process of divorcing his Jewish wife, Hettie Jones , and embracing Black Nationalism. Dutchman may be described as a political allegory depicting black and white relations during the time Baraka wrote it. The action focuses almost exclusively on Lula, a white woman, and Clay, a black man, who both ride the subway in New York City. Clay's name is symbolic of the malleability of black identity and black manhood. It is also symbolic of integrationist and assimilationist ideologies within the contemporary Civil Rights Movement.