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Dutchman and The Slave: Two Plays de LeRoi…
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Dutchman and The Slave: Two Plays (edició 1971)

de LeRoi Jones (Autor)

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532835,121 (3.66)8
Centered squarely on the Negro-white conflict, both Dutchman and The Slave are literally shocking plays--in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre. Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.… (més)
Membre:ScaglioneS
Títol:Dutchman and The Slave: Two Plays
Autors:LeRoi Jones (Autor)
Informació:Harper Perennial (1971), Edition: Later Printing, 87 pages
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:Literature

Detalls de l'obra

Dutchman and The Slave: Two Plays de Amiri Baraka

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My first time reading Baraka. Where the Dutchman has a mounting tension the Slave is an all out bombardment. I'm still sorting through so much of what he engaged in both. I was particularly impressed with the way he engaged the somatic experience, the body.
  b.masonjudy | Jun 12, 2020 |
aka LeRoi Jones
  Savornin | Dec 20, 2018 |
I can see why these plays were considered so shocking when they debuted in 1963 and 1964. They both suggest that violence is the logical end to the impasses of black-white race relations, and you can see Jones/Baraka's barely repressed fury at work in both of them. But they don't strike me as great drama in the sense that the characters themselves are not all that believable, and the staging is pretty minimal, even boring. The plays mainly consist of characters acting as voices for different philosophical systems or ideas, and the action is all talking, punctuated by a single act of violence in each play. ( )
1 vota jalbacutler | Jan 10, 2017 |
A peça Dutchman parte de uma premissa interessante, com um negro, Clay e uma branca, Lula, dentro do metrô. Eles flertam um com o outro, mas Lula age de modo muito estranho. Ri, tira sarro de Clay, parece volátil e leviana. Finge que sabe muita coisa sobre Clay e fala de sua vida e de sua família. Brinca com ele sobre o que farão juntos, não para de comer maçãs, chama-o várias vezes de mentiroso e finalmente diz-lhe que é um assassino. Clay acaba aborrecendo-se e começa a gritar, falando do comportamento lunático de Lula. Persegue-a. Ela foge e, quando o vagão do trem escurece, apunhala e mata Clay. Mais tarde, vemo-la noutro metrô com outro negro e sabemos que ela vai fazer o mesmo, novamente! Francamente, a peça é terrível (e não no bom sentido) porque o diálogo se arrasta sem nenhum propósito aparente. Não se tem ideia do que acontece até o final. Às vezes, adiar o entendimento do enredo até o final funciona, mas aqui só entedia. Jones não traz qualquer mensagem de tipo relativo a relações raciais e, se é que a traz, somente no final da peça é que a gente se liga nisso. ( )
  jgcorrea | May 20, 2016 |
For a white woman to review these plays would seem an adventure in irony, considering the content of the plays. I will leave it at that. ( )
  Devil_llama | Jun 4, 2015 |
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Centered squarely on the Negro-white conflict, both Dutchman and The Slave are literally shocking plays--in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre. Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.

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