THE100: TELEVISION FILM AND THEATER Spring 2020 Session 05

THE100: TELEVISION FILM AND THEATER Spring 2020 Session 05


you are watching DHTV from California State University Dominguez Hills hello and welcome back to theater 100
television film and theatre I am your instructor Naomi Buckley and today we
are in session 5 broadcast 5 today we are going to be looking at a Raisin in
the Sun in the latter half of the broadcast today and I just want to talk
a little bit about about that in a moment but before we do I want to remind
you we of course as always right now live and online so if you want to give
us a call at one at three one oh nine two eight seven three three zero or you
can type in a question or comment to ask th TV live at gmail.com remember if you
call in or you type in a question or a comment you’re gonna get some extra
credit hmm there was a question this last week about that somebody had
emailed me just remember and if you do that if you type in sometimes I get to
read them while we’re online but sometimes I don’t but it doesn’t matter
whether I read it online or not your name is record it and you get the extra
credit either way so even if I don’t read it online even if you don’t hear me
say your name online while we’re in the broadcast it doesn’t mean that you
weren’t recorded so a couple of people were checking in with me this week
because I said oh I I typed in but I didn’t hear you say my name and and just
don’t worry we’ve got your name we get a list and I get a list at the end and we
make sure that you get the extra credit so that of course brings me to our
question extra credit question of the day we’re going to actually have two
today so you have two opportunities to respond but this first one is going to
be about Asian drama simply because we’re gonna be starting with that in our
little theater overview this morning afternoon excuse me so why have so many
Asian forms of theater like no drama in Japan remained on
changed over three or four centuries so I’m just asking you to maybe speculate
as to why you think that is or if you happen to have any knowledge in this
area why do you think it is that these Asian forms of theater like no have
basically remained unchanged which is pretty dramatic considering that we
don’t really have anything similar here in Western drama right obviously people
go and do adaptations of Greek pieces or Roman pieces and sometimes we’ll have
very special you know performances where people try to reproduce what happened on
the Greek stage but that’s pretty rare even when we see these productions of
Greek or Roman theater they’re usually kind of these modern adaptations where
we see people in semi modern dress or our interpretation of what this this
would look like and it’s not really an accurate look at what these things would
have actually been like whereas when we look at the Asian forms we see this very
very accurate depiction of would have been happening basically centuries ago
when you go and watch no drama mmm it looks very much like it did pretty much
you know a century or two ago when it was originally being performed so why do
you think that is if you have a question or a comment about that or something
you’d like to share with us I want to encourage you just saw that the numbers
and the email on there all right let’s do a tiny bit of housekeeping so I do
want to remind you a couple things I still haven’t gotten to grading I think
the well I might have two weeks or one week of your discussion boards I did do
the first two weeks yes so I have two weeks to do not including this Sunday
and I’ll get to that probably this weekend so please don’t worry and it’s
on my list of to do’s and you guys have been pretty much as far as I can tell
keeping up with your tests and taking your tests a timely in a timely fashion
I haven’t had anyone fortunately have any problems well that one week we did
but all that I think has been solved now so please stay up with your tests now
this week though you do not have a test this week you have a writing assignment
and it is on Raisin in the Sun last week I reminded you that this was
right so hopefully all of you already have your plays you’ve already read the
play today by today hopefully because on Sunday what you’re going to be doing is
instead of taking a test you’re going to be turning in your first writing
assignment for this class so the writing assignment is very very clearly
described in the assignments page of this week and it’s also described in the
syllabus I’m sorry know in the writing and speaking guidelines so if you want
to go into either those things and take a really good look because I’m gonna
just briefly explain it right now but if you’d like to have a further explanation
more detailed or you don’t remember exactly then that those are the two
places the assignments page or the writing and writing guidelines okay but
what you’re going to do is you’re going to pick one of the characters from the
play that you like hopefully write or that you’d like to focus on and you’re
going to analyze that character using the text and maybe some of the things we
talked about today to take a look at this character and explain who they are
and how they function inside of the piece so maybe you decide to pick Ruth
Ruth is the sister and so one of the things you might do is to talk about the
way that Lorraine Hansberry has Ruth talked the speech that she uses the
language that she uses Ruth speaks in a very different way than almost any of
the other characters in the play there’s a reason for that right we’re gonna hint
at what that reason is I want to give all the answers away just now but
there’s a very specific reason why she would speak differently why does she use
different syntax when she talks right Ruth also has a very different life goal
then you know pretty much any of the other people in and it’s significant
because she’s a woman she wants to become a doctor that was very very
unusual for the time it creates a lot of friction inside of the house because of
it because of the cost of her education and just because there’s a feeling of
this sort of how dare she have the temerity to want to do something like
that’s not what women do these days so you might talk about her character in
terms of the actions that we see her taking inside of the play what does she
do right and what does that say about her
does it say that she’s determined stubborn smart what are the things that
she does and what do they tell us about her as a character another thing you
might look at is what do other people say about her inside of the play what
does mama say about her what does her brother say about her
what do she has a gentleman suitor that comes over what does he say about her
and does this give us further insight into her and who she is right
and then also what function does this character play inside of the scope of
the play like I said just a moment ago she’s a character that has really really
different goals and ambitions than almost anybody else in the house why do
you think Lorraine Hansberry had someone like that in the play what is she trying
to say with this character on a bigger scale almost looking at the kind of the
themes how does Ruth play into the themes of
the piece and what is her function inside of this world that is a Raisin in
the Sun so I want you to pick a character could be any character Ruth it
could be mama it could be any of the other characters that are in there that
we see that have dialogue and then I want you to analyze them now like I said
I’m really just going over this very briefly there’s much more detailed
instructions online in the assignments page as well as a you know where you’re
gonna turn it in and in the writing guidelines so if you’d like to go back
or you don’t remember everything that I said right now you can feel free to go
back and look at all those things you’re gonna write about a two page paper on
this double-spaced and tight and then you’re gonna turn it in and that link is
in the assignments page as a Turnitin document how am I gonna be grading these
well a couple of ways one of the things I always look at is did you meet the
basic requirements of the prompt so if I’m asking you to write two pages or
about 500 words then did you do that right or did you only write a page or
did you only write a and a half right did you use good did
you follow the guidelines it’s double-spaced it’s in the right type and
it’s formatted correctly did you use good grammar and spelling and
punctuation and all of those things and also of course primarily what I’m
looking at is did you address the prompt fully so the prompt is asking you to
take a character and then to analyze that character fully using examples from
the text I’ll say that again using examples from the text right so it’s
really important again that you have the play in front of you and that you’ll be
able to draw examples from the text so that you’re not just saying well Ruth I
I think that Ruth is a comes off as a very stubborn and determined person well
that’s great that’s your opinion but now you need to support your opinion with
evidence from the text and the way that you’re going to do that is by having the
text in front of you and then being able to point to specific sections of the
text moments that happen and excerpting those through quotation meaning directly
pulling from the text putting those in quotation marks and citing them inside
of your document so I know that you’re not plagiarizing right and then showing
see in this little moment that she has here with Mama and this exchange here it
is excerpt it we can see her stubbornness we can see how she’s got a
very specific point of view and is unwilling to bend in her point of view
right so you’re gonna make claims about a character so you’re gonna say who you
think they are and how you think they function inside of the play and then
you’re going to support your claims by providing evidence that’s going to come
directly from the text you do not need to cite anything outside of the text
right so as long as you have the play that’s the only place we need to draw
from and as you’re drawing information from the play the way that you’re gonna
cite that work is just an MLA format and in fact because we’re all drawing from
the same text I’m not even going to ask you to have a work cited page even
though that’s technically what we would need I just want you to put in
parentheses after your quotation so in parentheses after you’ve quoted a
section of texts you just need to have Lorraine
Hansberry /name Hansberry right and then a comma and then the page number that
you took that quote from so again you do need to quote from the text in
providing your support for your claims and the way you’re gonna do that is
after you have quoted a particular section in parentheses
you’re gonna write the word Hansberry that’s the last name of the author and a
comma and then the page that you took that from all right and that’s all you
need to do typically and if we were gonna be more formal I would then also
ask you to have a work cited page that had the full documentation of the text
but because we’re all using the same exact text right and it’s all from the
same publisher because you can’t really get it anywhere else and and then it’s
all gonna be the same so don’t worry about that all right
if you guys have any questions about this as the broadcast is going and if
you’re tuning in live today please feel free to type in and ask them here or
give us a call three one oh nine two eight seven three three zero or you can
chat text or not text I wish you could text you can type questions that has th
TV live at gmail.com and if I do see any of those questions come in during the
broadcast I will make every effort to get to them so that we can answer them
live and you feel like you’re well prepared for completing this assignment
by Sunday yes Sunday at midnight you need to turn
this paper alright so we are gonna do a further evaluation and take a look
together at a Raisin in the Sun but that’s going to be in latter part of the
broadcast today today we’re going to start with our Asian theatre overview
and we’re gonna look at the degree of stylization that makes Asian theater
forms entirely different from the West in the West realism is the dominant
style it’s it is the thing that we expect to see but in and we see that in
our films as well but in Asian drama it’s still highly stylized and that is
the main form is this very theatrical very stylized form of theatre so we’re
gonna start by taking a look at no drama no drama is an ancient form of Japanese
theatre that has been around since the 14th century
so for you know a long time hundreds and hundreds of years now and it began as a
form of religious dance drama and it’s basically stayed unchanged in this
entire time so like I was saying at the beginning of the episode today when you
go and watch no drama today if you are going to go here and see no drama you’re
gonna go in in Japan and watch a no drama no drama you would be watching it
in basically the almost identical form that people in the 14th century would
have been watching it now you can see this beautiful picture behind me of a
no-drama some of the things that they have in this that we would not have is
the screen behind the performers that’s lit that’s called a psyche you see that
beautiful blue background that they have yeah well that’s all done with
electrical lighting obviously back in the 14th century they didn’t have Sykes
I didn’t have electrical lighting and they couldn’t change the lights with
LEDs the performer here looks like they even have some they have some beautiful
front light that was done with an ellipsoidal or something maybe some sort
of spot so the space is illuminated differently then it maybe would have
been well it definitely would have been and in the 14th century but the costume
the style of the piece the language and scripts that are used the what you see
here in terms of this stage a plane would stage with just very very minimal
decorations on it the way that the the musicians are dressed in the back all
those things that basically may remained entirely unchanged since no drama was
developed by the Japanese so it’s almost like going back in time and when we look
at these theatrical forms these Asian theatrical forms because they have
remained really so unchanged now they the no drama involves elaborate costumes
with an accompaniment excuse me sorry with an accompaniment of a chorus and it
was originally designed to teach Buddhist principles it was done in a
temple setting so when you see no drama here we see another really we got a
great picture why does it kind of look like it’s in a room that’s because
this is a temple setting because these are religious dramas that are intended
to teach principals religious principles and it’s that formalized setting it’s
not really so much an audience being entertained as much as a group of
acolytes people trying to learn something almost like a sermon right
that they’re engaging in has highly ritualized movements chanting instead of
plain spoken language and the stories come primarily from the medieval period
of Japan and it’s very meditative in its quality so we actually have a clip we’re
actually gonna watch this really really wonderful clip this is a modern
performance of no drama there’s a little bit of narration over it so we’re gonna
not be totally lost and I want us to pay attention to some of the things I just
mentioned the highly stylized movements the elaborate costumes and makeup one of
the things that’s also very traditional as this is all done by men there are no
women in no drama so even though there are female
characters we don’t they’re drugged they’re men who are dressed as as women
and we’re gonna see that here in a moment
so let’s let’s take a little look at this clip of Japanese noh drama the
pillows are still there and one gets the feeling of being outdoors even in a
modern doing there are still the same original features the complete roof the
bridge way four entrances and exits a place for the musicians and for the
chorus the acting area on the real wall as always the traditional painting of a
pine tree and on the side wall there’s usually bamboo the stage like the drama
is stylized and form but the sense what know is all about we
must see something here is an excerpt from the no play doh Georgie the dancer
is really the vengeful spirit of a woman who was deceived into thinking a priest
would marry her her jealous fury transformed her into a demon who killed
that priest and destroyed the temple bail under which she was hiding
now many years later she has returned to destroy the temples new bell in the mountains now on this evening in
spring I have come I have seen the blossoms scattered with the evening bell
the blossoms scatter the blossoms fall at all a pile at temples everywhere
across the land the sinking moon strikes the bell and if the Watchers sleep when
danger threatens I’ll not let my chances ask me bye good I think by watching that
clip we get a sense of a few things right just first of all how incredibly
different the stylist of performances from the things that were used to seeing
right and it seems odd to us because of that
so even the music has a very very stylized excuse me
way of being performed you notice that as the man that was singing at the
beginning and as he brought his hand in to tap his his instrument it wasn’t just
him tabi knew there was like a very very specific set of movements in way that he
moved his body right and the entire all of know is like that so even when we see
the performer in there there is a set series of movements that are required
that again are very stylized what does that mean well they don’t seem
naturalistic 8 they seem as though they are created for this performance which
of course they happen so very very stylized form of theatre has existed for
a long time also like youyou saw very meditative in
its quality and then it to focus us on the big themes of what the story that’s
trying to be told the moral that’s trying to be taught
rather than let’s just be impressed by this immense spectacle that’s in front
of us alright Daniel’s actually typed in to answer our question today so I want
to read his response and our question is again why have so many Asian forms of
theater like no drama in Japan remained unchanged over three or four centuries
and Daniel says I feel like so many Asian forms of theater in Japan have
remained unchanged over so much time because that was their traditional way
of telling the stories of their ancestry and if they changed it then we would not
be able to receive the story the same anymore and may possibly receive certain
parts of the story incorrectly yeah so I think what you’re getting at here is
also that that this is part of a tradition right that’s steeped in ritual
and religion and so just in the same way that we wouldn’t go at if you’re a
Christian person or you believe in Christianity wouldn’t want people going
and messing around with the way the Bible stories are told right you you
don’t want these these no plays are religious stories and so we don’t want
people messing around with them I think what’s interesting about the no drama
again which has existed for centuries is that these plays were part of the
religious literature liturgy right so as opposed to let’s say like in thinking of
the Christian tradition you go to a church and what you see at the church is
you have hymns that are song maybe yeah and then you also have the mass that is
read or the sermon right a mass is probably a better example because
certain mass sermons were you know prescribed in other words the priest
doesn’t get to come up with the mass that he’s going to read today he has a
prescribed something that’s already been written out and he’s going to read that
and he’s not gonna change that because he doesn’t agree with it or he wants to
update it right but that’s a very non three it’s way less theatrical how about
that it’s not non-theatrical it’s just much less the at Racal than what we see
here which is where you would have maybe a priest saying some word than teaching
but part of that might also be watching this performance and that this
performance style has been so ingrained in the religious teachings that it is
part of the religious experience right and that again Daniels I think I think
what you’re getting at and in that it’s so steeped in the tradition of religion
that if we change it then we’re really taking a chance with maybe
miscommunicating what this very important moral is right so thank you
for typing in I hope more of you type in during the course of our broadcast today
so the ritual origins of drama and Asia are still there clearly revealed in the
highly stylized way that the performers prevent their present their stories and
many dance dramas are still highly ritualized so in in Bali there is an
exorcism dance or a series of exorcism dances called da dong da and and these
dances are done as part of a religious ceremony in order to expel evil spirits
either from individuals in the community or also it might just be bad spirits
that are hanging around in the community and causing bad things to happen so you
know there there is always a feeling in these communities that if bad things are
happening people are getting sick a lot or the crops aren’t doing well or it’s
too hot or you know bad things are happening that that’s usually because
there’s some kind of negative spirits that are there and in order to get rid
of those negative spirits we need to perform certain ceremonies to banish
these bad spirits from our community so that our community can be helped healthy
again so we’re gonna take a little look at one of those trans dances and again
these would be dances that would be performed in a religious setting as a
way to get rid of certain negative spirits that might be causing problems
in the community so let’s watch this trans dance from Bali she bends back and gives a high earring
back these are the frightening witches into
which the beautiful little girls of the ballet have been transformed again which dances alone she represents him by his beer and then turns away in different here come the women also in a ballet
formation they do not attack the witch but added scream given by one of their
number they suddenly go into trance seizures and with loosen’d hair turn the
christmas against their bread falling forward on the quizzes that are held in
there in the background you see the men also
in transition and here in so motion you see the women the fumes of the incense that is being
carried among them two common blends with their loosened hair so you can tell again that was the wrong
that from Bali and an older clip a very traditional dance but what I think I
want to bring out is that it’s not just a random dance right there’s a narrative
there’s a story that’s being told so it’s very theatrical in that way it’s
not just random movements with random people moving around even though there’s
not dialogue meaning people saying lines that there is a feeling that there is a
story that’s being told to the movements and to the interactions of these
characters and there’s different characters dressed up as different
things and ultimately it is a story about a battle of good and evil right
the witches and the dragon who’s good and then the Acolytes of the dragon and
how they engage in this physical trance dance that’s intended to cast out the
witch and the evil things right and so in telling this story the the community
at the end has this experience of the exploration of negative stuff a good
conquering evil right and that this ritual has actually done that in real
life too we’ve reenacted this thing of good triumphing over abel and now that’s
also what’s going to happen in in real life is that we’ve cast out these
negative things and it’s interesting because it’s not very much unlike what
we experienced in even today when we go and watch movies we like happy endings
why do we like happy endings well we like happy endings because they
imply that good people always win in the end right that good things always come
to those who do their best and try hard and have a good heart and that somehow
this is reflective of real life and it makes us feel good like there’s hope
like you see I’m a good person and so therefore good things will happen to me
and I’ll have a happy ending too right even
though that doesn’t always happen in real life
we still have that very similar experience by watching these stories and
hearing these narratives that have this particular structure it helps us to make
sense of our own realities and in fact it actually shapes the way we see our
reality okay so let’s move on in Thailand we have a called the salsa con
and these are stories that are very very old centuries old like the Ramayana from
India and in Thailand they are very exaggerated stories that have
exaggerated characters in very elaborate costumes with elaborate makeup and
headdresses and very similar stories about you know good and evil and gods
and demons fighting and ritual virtual istic in their nature in Sri Lanka
there’s a sickness demon that many dramas are still based on and as part of
a healing ritual right so there’s this idea again just like I was talking about
when we think of sickness inside of the community like crops not you know doing
well or people literally physically getting very ill those things are often
contextualized in certain side of these communities and in many older
communities as being because of negative spirits of demons right and so in order
for the community get better and also in order for a person to get better they
have to have the demon exercised from them they have to have the demon shooed
away right and so in Sri Lanka we have this idea of a sickness demon who makes
people ill and we have dramas that are based around like we just saw the one in
in Bali but that’s about expelling something from a community this is we
have dramas that are about expelling the sickness demon from a person and
therefore healing that person even when these dramas are clearly for
entertainment we still see them too as in these highly ritualized and
stylized forms such as in picking opera in China or a kabuki in Japan so picking
and kabuki picking is in in China and kabuki is in Japan and in picking this
is comes from an older straws its inspiration from an older more religious
form but what we see is that it’s still highly stylized we’ll highly stylized
costumes highly stylized makeup and in fact in picking drama much like in the
past in Western theater there are no there are no women allowed
right so all the female parts are played by men and in fact in the the 20s and
30s a lot of Western practitioners Bertold Brecht being one of them became
very very fascinated by picking opera as well as kabuki and we had a lot of
Western practitioners going back and looking at these forms and being
inspired as a result of that there was a actor named Mei Ling Fong who was a
Chinese actor and he was very well known for playing female parts also known as
don parts and he very much influenced a Brecht who would later become in Western
theater when we’re moving towards more realism to inspire him to actually move
away from realism well everybody else was moving towards realism Brecht was
kind of wanting to do theater that was more theatrical more stylized and more
about the message rather than these very realistic styles and he was very much
influenced by picking opera as well as Mei Ling Fong so Beijing also known as
Peking Opera is a popular Chinese theatre that combines music theater
dance and acrobatics into a symbolic form of stylized performance so all
Asian forms have maintained a highly stylized approach with exaggerated
costumes masks and forms of movement and so behind me you saw as I was talking
there are some really wonderful images and you can just see just the elaborate
the spectacle of it right so I know we’ve talked about spectacle before but
and it’s in your book but it is what is the thing that elevates this performance
into something that is theatrical and those things can be very subtle or they
can be very elaborate and here we see that this is very elaborate right the
beautifully decorated backdrop people in costumes that you would never see in
your real life bright colors doing things that you
would never see in your everyday life walking around right so it is this
element of spectacle that is highly prominent in these styles of theater
they’re not intended to be realistic in any way you go to watch them for the
spectacle and that’s what makes them highly entertaining
a Japanese form that drew again from a religious form and then became secular
it’s kabuki all right so we saw no theatre that’s a Japanese form and
that’s very religious and it remains religious kabuki is the secular version
of that so kabuki is not about it it drew from that religious ritualistic
style but then it became something else right so this is another example of an
Asian form that is pure entertainment it’s not necessarily trying to teach any
religious principles but it still derives its style from ritual and of
course no was drama for the Shogunate the hierarchy meaning the aristocracy
and it was this elevated you know very formal style of theater but kabuki was
for the everyman was the common people and they found their form inside of
kabuki and it doesn’t have any kind of religious connection or in its
storytelling it obviously draw stylistically from it but it’s not
connected in any way in terms of its storytelling or structure so and it’s
absolutely dedicated to spectacle so as we’re seeing some of these here we
see the elaborate costumes elaborate makeup elaborate gestures movement and
dance music and singing everything is larger than life and really really
spectacular when we see kabuki well guys that brings us to the end of us talking
about Asia in theater today as we can see it’s draw
so much from religious and ritualistic elements we see the highly stylized
forms focusing on spectacle and great battles between good and evil some being
even though some are purely for entertainment whereas others were more
for religious purposes one of the things that we see across the board is just a
focus on spectacle a focus on highly stylized gestures movements costumes and
language throughout and really no need to be realistic in any way which is one
of the things that really separates it from our Western styles of dramas which
have become almost overly concerned with being hyper realistic and grounded in
reality and having you know very realistic sets and costumes and and
language whereas Asian drama has really never been concerned with that and even
today even when we look at the modern things that are coming out of Japan and
China they are still very much holding on to a lot of those stylized and
theatrical traditions okay we’re gonna take just a 5-minute break because we
have a lot more to do today and when we come back we’re gonna take a look at
Raisin in the Sun we’re gonna be looking at the cinematic version as well as
talking through some of the elements of a play hopefully helping you to start
thinking about what you might like to write about if you haven’t started that
and then looking at some clips from the film version so we’ll be back in five
minutes and we will be dealing with Raisin in the Sun and the last part of
our broadcast today I’ll see you bright back here in five minutes the feeling I had when I was here as a
student was that I could do anything sure
keep striving and keep reaching high but at the same time also lift up those
around you I want to get up and work hard to change things for the future to
make things better how do I make my passion come to life how can I share
that experience how to shape and engage the community get hands-on into making a
difference my name is Makonnen my name is Johnny my
name is Samantha and I’m Eduardo don’t waste time with negativity instead
surround yourself with people who share the same goals as you if you believe it
you can do it you’re watching up th TV University
Vegas go hello and welcome back to the second part of our broadcast today in
this second part we are going to be talking about a Raisin in the Sun and
we’re going to be looking carefully at the cinematic version I do want to
remind you that we are live and online so you can give us a call three one oh
nine two eight seven three three zero or you can type in a question or comment as
th TV Live at gmail.com and now I think I have one seconds yes a second question
for this latter half of the broadcast is Raisin in the Sun still relevant
does it still move an audience emotionally does it still have power for
a contemporary audience so those are some questions you can think about if
there’s anything else you’d like to share with us your thoughts on a Raisin
in the Sun we’d love to hear them so that you can get some extra credit
Daniel already typed in today maybe there’s somebody else who would like to
take up and respond to some of those questions well before we get going with
looking at the film there are some things I want us to talk about you guys
are gonna be writing a paper this week if you haven’t already started it
analyzing a character from this play there was an a Greek man I lived a long
time ago you’ve probably heard of him his name is Aristotle and Aristotle was
a prominent Greek philosopher and he wrote about a great many things but one
of the things that he wrote about that relates to us is he wrote a book called
the poetics and the poetics was the very first basically piece of literary
criticism and theatrical criticism it gave people way to analyze plays and to
analyze narrative works great and Aristotle laid out some really important
things that we can use today as we are looking at Raisin in the Sun
or we’re looking at actually even a film or looking at a television show because
they all still apply one of the things that he laid out with that there are
different elements that are important when we’re telling a story when we’re
writing a play and these are the six elements of a play that he talked about
and today we’re gonna look at those six elements and we’re gonna talk a little
bit about each one so that we know what they are so that when we’re looking at
Raisin in the Sun today and as you guys are reading it on your own that you can
have those things in mind as a way to structure and understand the play so
what are those elements well they are plot character theme language music or
sound and spectacle so these are the six elements that every play has and they’re
kind of necessary parts right in order for something to be a play in order for
something to be theatrical in nature we need to have these six elements so we’re
going to talk about these again and playwriting but I’d like for us to take
a little bit of time to to look at these and think about them because these are
some things that you’re gonna be thinking about not all these but some of
them as you work on your paper for that’s due on Sunday so here are some
questions that we might ask ourselves to help us analyze a play what happens in
the play and that goes to Aristotle’s first point here which is plot plot is
what happens it is this series of scenes and actions that happen in logical order
beginning from beginning to end oftentimes when someone asks you what a
film is about or what a television episode is about what you tell them is
the plot right you say well this is a story about this guy and he does this
and he does that and then this happens to him and then this happens and then
they’re in a car chase and then he almost dies right and what you’re
talking about are the plot points one of the other things that’s important about
plot in terms of differentiating it from other things inside of the story is that
plot is objective that means that it doesn’t come it does isn’t changed
one’s own perspective or experiences when we watch a story when we watch a
television show when we watch a film when we watch a play most of us can
agree about what the plot points were first this happened then this then that
then this and then this happened at the end right there’s no question as to what
happened and in what order if there is it’s probably because we’re not
remembering correctly not because of some kind of subjective perception or
experience that we’re over laying on top of the plot so plot is what happens
something another question we might ask is who are the characters and how to
describe each one of them right so that’s character who are these
characters there are is always a specific set of characters they always
usually have names even if we’re looking at something very avant-garde or modern
which characters might just be named man or woman still a name right and those
characters have defining qualities about them something that makes them different
from the other characters inside of the play so as we’re thinking about plays we
think about characters and the types of characters and what those characters
represent and how they function inside of the play another question we might
ask is what is the play about theme right this goes to the element of theme
so sometimes people get plot and theme confused so again thinking about what we
just said about plot plot is what happens
whereas theme is what the story is about another way to think of this is what is
the message that the playwright screenwriter television writer is trying
to communicate there’s something that they’re trying to say and what is it
right and that’s theme another big difference between plot and theme is
that whereas plot is objective right meaning outside of ourselves we can all
agree on it theme is often subjective meaning that it is influenced by our own
personal experiences thoughts our personality our own perceptions and
because of that there can be any different correct answers 14 we
might look at a reason in the Sun and many of us might agree that this is the
story of a man who’s willing to sacrifice everything to retain his
dignity right so it’s about the innate human dignity of a human being and how
sometimes when we live in societies that refuse to recognize our dignity how we
end up doing things that are sort of outrageous or out of the norm right
spectacular I’m in order to secure our own sense of personal dignity but others
of you might find different elements of Thiemann and you might not be incorrect
what I usually like to say about theme is that theme is more like a ballpark
right the ballpark is is big and there’s lots there’s first-base in that ballpark
and second base and third base and home plate and all those things and my
perception of what theme is might be on first base and yours might be on second
but we’re still all inside of the ballpark and so we’re all still correct
now there of course are instances in which you might be outside of the
ballpark and we could all look at Raisin in the Sun and someone might make a
claim that this is actually about you know a fear of communism invading
American ideals that would be pretty far outside of the ballpark it’s not that
people can’t make claims like that but it’s that when you make claims that are
really outside of what the ballpark is you have extraordinary burden in terms
of finding proof inside of the text to support those claims right so if someone
was going to make a claim like that they would need to really drill down back
into that text and find really specific examples and maybe go back to other
source material when Florine Sainsbury was writing this to really provide a
bolstered set of facts that support this really kind of out there interpretation
but usually we again most of us are inside of the ballpark we might have
slightly different ideas about what the theme is but they all tend to fall
within a certain set of what is probably correct
another question we might ask is what kind of language is used inside of the
play right and language can be all different kinds of things it can be
stylized as we saw in the know Theatre as we see in Shakespeare stylized
language elevated language rate it might be a more practical or realistic style
of speaking that’s represented we might have different characters who speak in
different ways some of them in a more educated way some of them in a less
educated way right and the playwright might be telling us something about
these characters by using different styles of speaking throughout the play
so as we’re looking at language we’re looking at what is the overall tone of
the language inside of the plays its stylized is it elevated is it poetic or
is it plain is it realistic is it to dance akin nature and then also looking
at the individual characters and how are the individual characters differentiate
it how do each how does each character’s syntax different differ from other
characters and then finally what makes this piece theatrical and that goes to
the element of spectacle so as we’re looking at a piece we’re looking at what
are the things to elevate this piece that make it more than real life right
and that can be very subtle sometimes it can simply be that we’re watching a
scenario as we will in Raisin in the Sun where the stakes are incredibly high and
a lot is on the line for this family and they experience kind of a lot of trial
and tribulation in a very short amount of time right this play if you were to
see it from beginning to end is about two hours long but in those two hours
man we go through all kinds of highs and lows all kinds of things get thrown at
this family they seem to really be kind of drug through a multitude of crises
and the fact is is that in real life especially in two hours you
we’re condensing time down most people don’t experience that kind of crisis on
an everyday basis yes all of us experienced crisis and tribulation we
have periods of time where we have a hard time where maybe we get kicked out
of our house and we’re trying to find a place to live is very stressful or we
lose our job we’re getting a divorce or whatever but those time periods are
actually relatively small compared to the vast periods of time and that we
live that we’re really nothing special is happening right sort of everyday
stressors are happening but nothing that spectacular is happening to us but in
the theatrical world obviously all of our stories are about these high crises
moments that happen because those are the moments where obviously even in our
real lives where we learn the most where we learn the most about ourselves so the
ones that stick with us the longest so the ones that feel most significant when
we look back on our lives and the things that we’ve experienced so the stories
that we tell tend to have these very high stakes things but that is spectacle
that’s spectacular because we don’t want to go to the theater and just watch
people going about their daily lives and having a very nice day or a very boring
day or you know not having very much interesting happen to them I’m in fact
even when we look at things called reality television those realities are
really not realities right we have you know we know now that of course we have
producers constantly kind of prodding this story forward and trying to get two
people to fight sometimes telling them lies about each other so that they get
it each other’s throat encouraging these people to get into fights with one
another backstab each other and one of the other things we know is that in any
of these series there’s hours and hours and hours of footage that gets condensed
down into the one hour that you watch right and that one hour is of course
first of all constructed in a way that makes it seem like it’s it narrative ly
cohesive even though the entire week may not have been narrative ly cohesive and
secondly constructed in a way where we highlight all of the tension
drama that there’s nine times out of ten been artificially created right and
that’s just because the fact that matter is is that most of us can’t live in this
hyper elevated hyper dramatic state it’s tiring it’s a mentally exhausting no one
wants to have drama 24/7 okay we like to watch it on TV we like to see it on the
stage but we don’t want to live it so spectacle is the thing that draws us
in it doesn’t always have to be negative it can be like I said elaborate costumes
elaborate sets elaborate makeup singing dancing amazing acrobatic feats of
physical prowess on the stage all these things can be part of what creates
spectacle special effects lighting effects sound effects right these are
things but nowadays when we go to the theater a lot of times spectacles simply
the fact that we are watching an elevated high crisis situation in a
theatrical setting and yes it’s lights and sound and all those things and it’s
different from our real life but it’s much more subtle than something like
picking opera right and it’s not that we don’t like those things certainly many
Broadway musicals are very very high spectacle but we do have a wide variety
of what spectacle is it isn’t just amazing fireworks on this stage it can
be something like somebody delivering a very very dramatic and well delivered
monologue right we’re gonna see that in a reason to the Sun so what is the
action of this piece right well it’s as simple as a family moves out of a small
apartment right and they’re trying to move into a house yeah that’s the simple
action of the play but of course there are other circumstances that make this a
very big deal for the family they’re struggling to get a chance at a better
life and they almost lose that chance the son fails at trying to make a dream
happen but then rises up against the odds facing him and a family reaches out
for the American Dream and for a moment we think they’re not going to get it but
in the end they do another kind of tea Natick element is this idea of a back
black family of trying to live in a white America that at the time was even
more racist than our current society and how difficult that was for people at the
time living in a world in which redlining was fully alive and in
operation right if any of you don’t know what redlining is it was a unspoken well
sometimes not unspoken but a practice of having real estate people agents not
sell particular homes in particular neighbor and neighborhoods to anybody
other than a specific set of a race right so if this was a white
neighborhood then we don’t as a real estate agents we’re not going to show a
house that might be for sale to a black family even if they might be able to
afford it and in fact if they do want to look at it we’re gonna make that process
very difficult for them we’re gonna make it very clear that they are not welcome
here so that hopefully they don’t want to
move into this house and then you know vice versa
white families aren’t gonna be looking at living in neighborhoods populated by
primarily African Americans even though that process was slightly different but
redlining was a real thing it existed really pretty much throughout all of
America and it is why even today we still have neighborhoods that are highly
segregated right that are primarily african-american are primarily Hispanic
or primarily Asian right part of that goes back to this sort of redlining that
happened back in the 50s and the 60s and on it created these kind of these
communities and that has if you’ve ever heard of this it it is a form of
institutionalized racism right so we’re kind of segregating people not through
laws just through our own behaviors and the reinforcing of those behave unspoken
behaviors in society and we’re institutionalizing this because if
you think about it the neighborhood that people live in that’s also where all the
property taxes come from so if you own a house in a particular neighborhood your
tax on the value of that home and that money goes to the government and if you
have a whole community of people that are in lower income brackets on the
whole because you force them out of the more middle class or upper income
bracket areas where they might have lived then the money that is generated
from this is lower than would be in another community well where how does
that play out well that plays out in several ways
it means that now we don’t have as much money to fill potholes now we don’t have
as much money to deal with infrastructure now we don’t have as much
money to pay teachers and develop schools right so this becomes a really
big problem as it kind of mushrooms out and again it’s part of this kind of
institutionalized racism that we see that would start it and then has been
very very hard to break out of even though redlining doesn’t exist
anymore it’s illegal and now we see that we’ve created this whole system of
living and operating than these kind of naturally segregated communities that
can be very very hard to kind of break that cycle of institutionalized racism
well let’s talk a little bit about character because this is especially the
thing that you guys are going to be focusing on so I want to talk a little
bit about character analysis and then we’ll have some time in a moment to look
at a few clips from the film and talk about the play so there are two ways
that we learn about character in I mean there are different ways that we learn
about character inside of a film or a play but let’s focus on a play since
that’s what we’re gonna be looking at well it can be appearance how is the
character described right how when we look at the stage directions and we look
at the character descriptions how are they described or maybe they’re not
described there but they’re described by people other characters inside of the
play and that tells us something about the characters and how we’re supposed to
perceive them so for instance mama in a Raisin in the Sun is described as being
a big character right physically big and that really says something about her
that she has this sort of largesse about her that she takes up space inside of a
room not in a bad way great in a very good way that her
presence is big right and there’s a very kind of motherly almost very goddess
sort of feeling about her she’s not slim and slight you couldn’t just look past
her she takes up space and and there’s something about the character of mama
that that physical appearance is also helps to reinforce the dialogue this is
what the character says but also how they interact with other characters so
when we look at Beneatha how does her language tell us something about her
ambitions oh I’m sorry I mixed up two characters beneath is this sister Ruth
is the wife I hope that didn’t confuse you too much Beneatha’s language tells
us something about her right she speaks in a very very very different way from
the rest of the characters because she’s actually college-educated she’s not done
with her degree but she’s getting college educated she’s therefore read a
lot more she’s been exposed to a host a different set of speaking and different
set of language skills that the other characters have not so when we hear her
speak she speaks in a different way and that tells us something about who she is
and who weren’t what her ambitions are what does the characters say about
themselves now this is not always to be trusted right so we have to take this
with a grain of salt because sometimes even in our real lives right we say
things about ourselves that aren’t true we might have a very dim idea of
ourselves might not think we’re very smart but everyone else thinks we’re
brilliant right so I might say like well I’m not that smart
but in reality I might actually be very smart so when we look at what a
character says about him or herself it’s not always that it’s true right but
we’re looking at it in terms of what does this say about the character maybe
we have low self-esteem or maybe they really high self-esteem or maybe there
are narcissists right so the way they describe themselves is important to
understanding who they are of course what do the other characters say about
this person and this is another thing we have to take with the grain of salt
because if someone doesn’t like this character then they may say really
terrible things about them right and that may be coming from a place of
jealousy or disdain but it can still tell us something about who the
character is and who the person is that’s saying it right the actions that
the characters take what does this say about them the things that people do
inside of a play says a lot about who they are just sighs and realize that
things that you do says a lot about who you are almost more than what you
actually say right so it’s one thing to just say things it’s another thing to be
a person of action to actually do things and you know as the saying goes actions
speak louder than words what you do is actually can say more about you than
what you actually say is there caricature for instance is there an
aspect or one trait of a character that’s being over exaggerated in order
to create a character that functions in a specific way inside of the world of
the play so for instance in the odd couple
we have Oscar who’s really really messy and then his roommate who’s super clean
and tidy and both of those traits are over exaggerated in order to increase
the tension between the two of them right because it’s all about these two
very different people learning to live together and also to because it’s
sometimes it’s more fun right it adds to that spectacle exaggeration be something
that adds to the spectacle and makes it a little bit larger than life and and
therefore sometimes more fun to watch I know I’ve talked about the hangover in
this class I tend to use it as an example a lot but that’s another
especially in comedies we see characters with really exaggerated character traits
so in the hangover we have Zach alpha nagisa’s character who is just almost
ridiculous in the way he is presented right he’s almost more
stupid than you could imagine somebody being why is he so dumb he is such an
idiot right but that trait is exaggerated for a
couple reasons first of all because without him being that stupid the rest
of the action of the piece can’t take place right secondly because it’s
incredibly funny right and third because it stands in direct contrast to some of
the other characters in the piece who are clearly not as dumb as he is right
and so it functions in all these different ways to create tension to
create humor and then to actually drive the action of the piece so names we can
also get a lot about a character and what a playwright intends for us to
understand about a character through the names that they are given sometimes
we’re being told about the kind of art er excuse me our type ol nature of a
character through their name so Ruth who am sorry I confuse you before by saying
she’s the sister she’s actually the wife of Walter Ruth is a biblical name right
Ruth is a name that if you know anything and more people at the time would have
been more familiar with this less so now but if you are a person who is done any
kind of church or read the Bible at some point Ruth is a name of a character in
the Bible who is very practical very tough very strong right was a helper to
her older mother-in-law Naomi it’s my name right and was favored by God
because she was someone who made a lot of sacrifices and was a very practical
humble woman and we see that sort of archetype playing out in the character
of Ruth inside of the play a reason in the Sun right also we can see something
like that in Arthur Miller’s Death of a Salesman where we have someone named
Willy Loman his last name is literally Loman a low
man right and it is a story about this man who has been brought low and how
that fall from grace has highly impacted him and how he deals with that so names
are very important in terms of what the playwright is trying to communicate to
us and the feeling and the type that we might be dealing with can be
communicated through the name so these are the ways that we gain information
about the character and as you’re looking at doing this character analysis
these are some things hopefully that you’ll look at and then draw real
examples from the text in order to support your conclusions about it we’re
going to move forward and jump forward a little bit because I really we have
limited time and I want us to get ahead to looking at some of these clips so
we’re gonna look at this cinematic version of A Raisin in the Sun excuse me
one second this film was directed by Daniel Petrie for television and film he
was a director of television and film from 1948 to 2001 and he did some great
television shows like Sybil in 1971 but this film was shot in 1961 two years
after the stage play rocketed to Broadway actually won a Tony Award and
the film version features some pretty well-known actors most well-known
probably Sidney Poitier who’s a formidable actor from this time period
he plays Walter Lee younger Claudia McNeill who plays Lena younger
Ruby Dee another very well-known actress from the time plays Ruth younger Dianna
Sands played beneath a younger Ivan Dixon plays us at us us I can’t remember
how to say his name asaji I think it’s how you say it John
Phil fielder plays Marc Lindner Louis Gossett jr. another well-known actor
George Murchison he plays George Murchison in the in the film Steven
Perry plays Travis younger the little boy and Joel fuel and plays Bobo we only
really seen him very briefly I’m not even sure we’ll see him in the clips
that we play today and you should probably know that in the
original we don’t have a really see buh-buh-buh-buh is just a character
who’s spoken about but we never see him so in this version they actually have a
little scene maybe two scenes where we see him but in the play that that
doesn’t happen so remember we do have a second question for this half of the
broadcast and it is is Raisin in the Sun still relevant does it move an audience
emotionally does it have the power for it still have power for a contemporary
audience and and why do you think that is yeah so if you’d like to type in or
call in you know our number and our it’s three one oh nine two eight seven three
three zero and you can type that question or a comment and ask the HTV
live at gmail.com all right well we’re gonna look at a few clips from the film
we’re certainly not going to go over the entire movie today or the play so it
really is your responsibility if you goodness if you haven’t started reading
it please quickly read the play so that you can do your assignment but let’s
take a look at the introduction this is the opening sequence of the film this is
the exposition right so the moment where we’re learning the who what where and
win of the play and the director uses mostly medium shots to tell you about
the characters within there such situation but I’d also like you to
notice the very first shot which is a close-up and let’s take a moment to
think about why we think that might have been the choice of the director so as
we’re watching this what does this expository scene tell us about how the
family is living and what do the camera shots tell us in terms of how the camera
is being used to tell this story to give us information about the space that
these characters are living in how cramped this space is and how
uncomfortable all these people are as well as the tension that’s already here
and existent from the very top of the play so let’s take a look at this little
clip this is the first clip it’s the opening sequence of the film A Raisin in
the Sun lovely Zab 7:30 let me see you do some
waking up in there now alrighty let’s go ahead and lay there next thing you know
Travis will be finished in mr. Johnson will be in there and you’ll be fussing
and cussing around here like a madman and be late all the young it is time for
you to get up any idea what you mean oh yeah they got
in there good you what you’re doing on that yeah I can’t get a check coming in
in I said Saturday this is just Friday and I sure hope you’re gonna get a beer
first thing this morning talking about no money because I don’t want to hear it
what’s the matter with you this my just sleeping good extra water not scram and
what is that boy doing that bathroom oh no he’s gonna have to start getting up
you know I mean one second I can’t afford to be using for work on Akane and
messing her in this folder can’t get to bed in the earlier nights cuz he said a
bunch of crazy good-for-nothing clowns sitting up running their mouths and
what’s supposed to be his bedroom that’s what you’re mad about him hey things I
want to talk to my friends if I just couldn’t be important than y’all right
now such friends as you got you look young misbehaving
yeah yeah just for a second stirring it’s gone now look like
yourself again if you don’t shut up and leave me alone
you know the first thing a man I learn in this life is not to make love to no
woman early in the morning you all are some evil creatures in clouds of our grandma’s gonna be staying over for what
for now that’s right baby hey and schuster come tomorrow huh would
you get your mind off money and eat your breakfast this is the morning I’m
supposed to bring the 50 cents the school mama yeah well I ain’t got no 50
think she’s more teachers that we have to okay let’s teach there could I make
me go care go she’s at the supermarket after school then look you can get over
there make up your bed doctor milk money yes ma’am I wouldn’t kiss that woman
goodbye this morning nothing nothing in this world nothing nothing in this world excuse me
so this wonderful opening sequence in terms of what it how its adapted from
the original except for those camera shots the scene is almost identical to
what we would see on the stage unless some of the information that we get well
we almost immediately meet all the characters right we meet Ruth younger we
meet Travis younger we meet Walter Lee younger there’s only two more really
important character that if we had kept watching would have
come in very shortly mama and Beneatha we see if they’re living a very small
cramped apartment a space that obviously they don’t they don’t have a lot of
money right this their son is sleeping on a couch you know the there’s one
other bedroom they have to share a bathroom with the other floor of people
that that’s there we also get a kind of look into Ruth and Walters relationship
it’s a bit adversarial they’ve clearly there’s some problems there in the terms
the way that they relate and it’s a pretty tense morning even though it
feels like it’s probably kind of like also everyday morning except for one
thing there’s a check coming we get several people who mention it Walter
mentions it then Travis mentions that and so something special about a check
that’s coming we’re not sure what it is yet but we’re certainly going to find
out soon but we also realize that not only are they living in a very small
cramped apartment but they obviously don’t have a lot of money when the
little boy asks for the fifty sons for school his mom says you know that she
doesn’t have it so we get a lot of wonderful information and a clear setup
as to what some things that might be happening later well we’re gonna move
ahead we’re gonna take a little look at one of the other relationships that
becomes really important inside of the play and that’s the relationship between
Walter and his sister Beneatha so I want us to take a look at the way that the
director here sets up this relationship this is also it’s going to be the same
morning just a little bit later after Travis is left and there’s a couple
things happening here there we’re gonna see Ruth ironing while Walter and the
sister are talking and this entire interaction is gonna give us a really
good foundation and look at how Walter sees venice’
and how Beneatha sees Walter as well so let’s take a look at this second clip
looking at Walter and Beneatha’s relationship and a Raisin in the Sun I’m trying to talk to you about me now
all you’re gonna say to me is eat these eggs you know I listen to you every day
every morning every night you never said I don’t know
so you rather be mr. Armel than be his chauffeur so I rather be living in
Buckingham Palace and that’s just what’s wrong with a colored woman in this world
today you don’t understand about billing your man up making him feel like there’s
somebody like they can do something do things no thanks to that colored woman
woman I guess I can help myself you should get up earlier really when would
you suggest door you’re a horrible looking child this time of morning good
morning brother you know biology is the greatest and dissecting something of
just like you yesterday I was just wondering whether you made up your mind
on everything what I answer yesterday morning and the day before that so mass
today before that I’m interested in anything wrong with that in every day no you know that check is coming tomorrow
that money belongs to mom it’s for her to decide how she wants to use it not if
she wants to buy yourself a house or a rocketship but just now let me look at
it it’s hers not ours hers you are such a nice girl you’ve got your mother’s
interest at heart angel well mama got that money she can
always take a few thousand and help you through school I’ve never asked anyone
around you to do anything for me line between asking and just accepting this
big and wide from you but for you to stop acting holy
around here not me and Ruth and made some sacrifices to you it’s about time
you do something for this family I’ll be dragging me you are in it
you go out of here and you’re working somebody’s kitchen but two-three years
to put clothes on that’s gonna get on the knees and say Thank You Ruth and
thank your brother and thank you mama Thank You Travis for wearing a safety
issues for the last two semesters well I do all right thank everybody and you
just forgive me for ever wanting to be anything at all forgive me forgive me Oh
give me told you you have to be a doctor you’re so interested in messing around
with sick people going out of here and be a nurse like other women get married
and shut up so you finally got it said huh
took you three years but you finally got it said well do you give up and leave me
alone it’s Mama’s money he was my father too
well so what he was mine too and Travis’s grandfather but the insurance
money belongs to mama wonderful so we get this great sort of dramatic talking
about spectacle right this argument that happens in this very very tight space
poor Ruth sitting there kind of you know just having to watch this although we
get the feeling that the two of them probably fight like this a lot right and
she the heart of the matter in terms of how Walter feels about Beneatha and what
she’s doing and that she’s being sort of uppity wanting to be a female doctor
when she could be a nurse or she could just get married right certainly at this
period of time not a big expectation for women to do much beyond that and then
the fact that her emissions are so high that she wants to not just be a nurse
she wants to be a doctor and the cost of that is of course been a burden on the
family and we see how you know Walter has these ideas about who women should
be in that we’re beginning to feel from the beginning to now this is kind of a
second scene here and there’s a little bit that was between that and this scene
that he really has a kind of a chip on his shoulder doesn’t he feel
somehow that he has been sacrificing and he deserves certain things that he
hasn’t gotten and and he’s kind of lashing out at everybody around him as a
result all right we’re gonna not watch another clip now
this is between mama and Beneatha this is a really really pivotal scene in
terms of what happens here and it’s a really important moment that shows it’s
there’s a lot of intergenerational conflict inside of this play what do we
mean by that we mean conflict between different generations of people Walter
and his wife representing one generation Beneatha representing that much younger
generation mama representing the much older generation in fact when you read
the play one of the things you’ll you’ll see is that Mama and and her husband
they were both slaves at some point right and then they became free so in
their lifetime they actually had when they were obviously much much younger
they they had actually experienced that and then they you know they worked
really hard and they made a life for themselves and it wasn’t you know a lot
but it was much more than they had had before and they were hoping to you know
that their kids will do even any better so we see these really this three gent
four including Travis four generations of this family living under one house
and how their views of the world vary greatly
you know from Beneatha who thinks she can be a doctor and do everything and be
anything she wants to be to mama and when we hear her talk about what she
wants different kinds of wants and dreams and Walter also so this
intergenerational conflict in how’s it how it plays out and also the role of
religion and God inside of these families and how that evolved over the
generations and what role religion played and in these families and seeing
how that that conflicts and creates tension in terms of a younger group of
people and how they feel differently maybe from the older group of people so
let’s watch this third clip between momma and Beneatha
it’s a it’s a really great one of my favorite scenes did you decide to come
home I thought your last Friday’s class was at 3:30 lessons today your what kind
of lessons guitar Oh father well how come you don’t cook it in your head to
learn to play the guitar that’s all ciao don’t you know what to do with yourself
now how long it’s gonna be before you get tired of this now I think I turn it
a little play I can group your joy last year and what was there before that the
horseback riding club for which she bought that $50 riding outfit it’s been
hanging positive sense maybe why you got to fit so from one thing to another you
ain’t never done that with all that camera equipment you Bravo mom I don’t
fret I experiment with different forms of expression well people have to
express themselves in one way or another me don’t expect you to understand oh god
you use the Lord’s name just one more time mama
breath just fresh assault this girl oh where are you going I got a date George
Murchison again we don’t nobody but us out I mean I like him enough to go out
with and stuff what does then stop me what does it mean
mama I just mean that I could never really be serious about George he’s too
shallow shallow demeaning shallow he’s rich
I know he’s rich he knows he’s rich too and besides George’s mother wouldn’t
want me to marry little Georgie I mean any more than I never want to marry Don
George oh honey you mustn’t dislike folks cuz they’re well off don’t worry
that over some of this is their youth talking now what are you talking about
get over it listen I’m gonna be a doctor I’m not
even worried about who I’m gonna marry yes if I ever get married yeah Oh Oh mom
I probably will but first I’m going to be a doctor
now George for one he still thinks that’s pretty funny I couldn’t be
bothered with that I’m gonna be a doctor and everybody around here better
understand that doctor honey God really God hasn’t got a thing to do with it
just wasn’t necessary Oh mom and neither was God I get sick of your mom I mean
now I’m just tired of hearing about God all the time what does he got to do with
anything does he pay tuition you bout to get your
freshman dose that is what she needs all right one now why can’t I say what I
want to say around you like everybody else cuz it don’t sound nice for a young
girl to be talking like that you wasn’t brought up that way me and your daddy
went to the trouble to get you in brother and says every single Sunday
mommy you don’t understand maybe it’s all a matter of ideas and then God is
just one idea that I know except that’s not important I’m not gonna go out and
be immoral or I’ll commit crimes because I don’t believe in God I don’t even
think about that it’s just I get so tired of him getting the credit for all
the things the human race achieves through its own stubborn effort now this
simply is no God there’s only man and it’s he who makes
miracles you say after me in my mother’s house
there is still God in my mother’s house there is still God my mother’s house
there’s still god so a wonderful scene that tells us more
about the characters of Roose and mama but also about Beneatha and then again
the plane out of this really really interesting intergenerational conflict
in more than one way and more than just about religion right we see Ruth and
mama both look at Beneatha as sort of ridiculous right she’s concerned with
all these things one week she’s learning guitar one week she’s learning
photography and horseback riding and she seems to be you know so non-committal
and doesn’t take things seriously enough in their opinion and then why is she
doing this she says because I want to express she says me and they both laugh
right um and we see their this is sort of again this intergenerational
difference between Ruth who’s obviously still much younger than mama but still
from a completely different generation than Vanessa and these women who believe
that you why do you need to do that what is the point of that you know is that
going to why would you need to express yourself you just are who you are you
don’t need to explore all these different things or try all these
different things to figure anything out you’re thinking too much about this or
you’re spending too much time doing it when you should be focusing on again
probably the things that they think are more important which is trying to make
yourself into a good wife or develop things that are gonna make you into a
good mother right and so we see that Mama and Ruth really viewed women from
this very traditional set of points and values whereas Beneatha is in this
younger generation and she sees herself very much as an individual who is to be
developed just for the sheer point of developing right it’s not just about
becoming a mother or becoming a wife becoming this kind of a traditional
female figure it’s about being a full person and Mama and Ruth have a hard
time understanding that another point that proves that is when she said she
said you know if I even get married and
Ruth’s and Mama go if you know um again like how could you even think of that
that’s of course what a woman’s supposed to do she’s supposed to get married like
why would you well you can’t even be a woman unless you sure what value do you
have if you’re not married right so again them coming from these very
traditional viewpoints and challenging beneath and benissa
also challenging their viewpoints in terms of what it means to be a woman and
not only that what it means to be a sort of modern human being
she doesn’t prescribe to this idea of religion she doesn’t prescribe to those
ideas and values she challenges to them and whether you agree with her point of
view or not again we’re talking about how do these characters function
Beneatha’s real function in this entire piece is to provide that very modern
very progressive point of view in contrast to all these other much more
traditional points of view that we see at work and to simply provide that voice
that challenging voice again whether you agree with it or not this is the the
other side of that this is the other point of view this is the other way to
look at it and not only does it help to create conflict this a very high moment
of conflict right we’re a Beneatha sort of gets put in her place in my mother’s
house there is still God and she has to say it you know she still lives in her
mother’s house she still does everything she does is mostly paid for by her
mother and the people she lives with she’s there at their graciousness right
and there is a part of her that is uh probably a little bit arrogant and needs
to kind of put her her self in check a little bit and we see that that
happening as well as we watch this scene so this challenging voice that Beneatha
represents throughout the entire course of of the piece and in a lot of ways she
is kind of the voice of that modern generation and the generational change
that was happening in general in terms of the country and what was happening
with women inside of the country and we’re right here on the cusp of the
women’s liberation movement right I think we have time for this very
last clip or one more clip not the last clip but the this clip here so we’re
gonna watch clip for this is a whole segment about this check that we’ve
heard about earlier and it coming and what we want to do with the check as
opposed to what the family wants to do with the check and this is also a really
important scene as well so we have I think just enough time to watch this
last clip here clip number four from Raisin in the Sun where’d you go today girl does dr. Ruth
you know better than that old dr. Jones is peculiar in his way but say nothing
about him to make nobody slit and call and she like you done this morning woman
didn’t you what are you doing home at this hour and can’t you give people a
Christian reading before you start asking about money Willie Harris put everything on beta
mama but the lawyer just looked it up in it son I think you have to talk with
somebody listen to me today no yelling in this house Walter look you don’t even
have to speak on it again are you tell that to my boy tonight when
you put him to sleep on the living room couch and you tell it to him in the
morning when his mother goes out of here to take care of somebody else’s kids can
tell it to me when we want some curtains are some drapes and you sneak out of
here and go work in somebody’s kitchen all I want us to make a future for this
family all I want is to be able to stand in front of my boy like my father
never was able to do to me and tell him that he’ll beat somebody in this world
besides our servant and them wait just out of this house it’s too bad sit down
I’m a grown man but you are still in my house in my presence and as long as you
are you talk to your wife civil baby that was my biggest mistake with you
that’s not gonna matter with me yes there is hey so let’s eat you up like a
crazy man some more than me not giving you this
money the past few years I’ve been watching that happen to you you get all
nervous acting and kind of wild knives I said shit
I don’t need your nagging at me today house it seems like you always tied up
into some kind of nut or something buddy yeah I’m not no hustle where’s go get
drunk all the weed people cannot live with that Ruth is a nice patient girl on
her way but you are getting to be too much boy don’t you make the mistake of
time that girl away from you what does she just wants to do that’s what I’m on
to tell you about it’s dangerous son what a man goes
outside his house to look for peace calm never be in this house
you found it in some other house why do you always think there’s a woman
somewhere when I meant what so many things I want so many things that
sometimes I think they’re gonna drive me crazy look at you good looking boy you’ve got
a job a fine job now I open and close car doors all day I Drive a man around
in his limousine and I say yes sir and no sir
and should I take the time to make you understand understand what well
sometimes it’s like I can see my future just stretched out in front of me my
whole future a big blank empty space full of nothing just hanging at the edge
of my days waiting for you but it don’t have to be
sometimes when I’m downtown driving and men around we passed them cool quiet
looking restaurants I look in I see these white boys they sit talking
talking about deals deals worth millions of dollars mama and half the time they
look older than nails so now money is life
once upon a time freedom used to be life but now it’s money
it was always money we just didn’t know something’s changed he was something new
boy in my time we was worried about not being lynched in and getting to the
north and how to stay alive and still have a daddy you ain’t satisfied or
proud of nothing we’re done I mean that you had a home and then we kept you out
of trouble till you was grown and that you don’t have to ride to work on nobody
street car so again we get this wonderful generational conflict that we
see it play mama who’s like you know when we were young or we were just
worried about staying alive and you can get north and and here you are worrying
about all these other things when you have all the things that we wish we
could have had we were younger why can’t you be happy with what you have now and
what Walters trying to communicate is that in spite of having all those things
he still doesn’t have the thing that he wants the most which even the people
before want it which is a sense of dignity and a sense of pride a sense
that the society that he lives in respects him and that’s what he’s really
seeking in terms of buying this liquor store business and having something that
he feels is his own right that he could make good alright well there’s some
other scenes there’s lots of scenes in between that we did not go over but I
think we have a good overview of the play it’s a wonderful play take the time
to read it all the way through so that you can do this activity that’s due on
Sunday which is where you’re going to analyze one of the characters and then
support your claims about the character through evidence in the text yeah and if
you’re unclear about how to do that you weren’t paying enough attention at the
beginning of the episode today just go ahead and go into the assignments page
there’s a full description there as well as in the writing guidelines there’s a
full description of the assignment there as well on how
you need to complete it if anyone has any other questions you can feel free to
email me and I will get back with you before it’s due on Sunday it is due on
Sunday at midnight there is no test this week there’s just the paper and then
your regular discussion board so I think we got through everything that we
intended to get through today guys we had a great broadcast today broadcast 5
and we will be here next week plugging on and looking at what’s up next I think
it’s acting not sure exactly but I’m sure we’ll look and we’ll find it and it
will be great so have a wonderful rest of your weekend weekend and I will see
you here next week at the same time

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