Brecht Jones And Artaud Essay Research Paper

9 September 2017

Brecht Jones And Artaud Essay, Research Paper

In LeRoi Jones & # 8217 ; s drama, & # 8220 ; Dutchman, & # 8221 ; elements of pragmatism, naturalism and

non-realism abound. The drama features characters such as Clay, a

twenty-year-old Negro, Lula, a thirty-year-old white adult female, both white

and black riders on a subway manager, a immature Negro and a music director.

All of these characters take a drive that, for each, ends with different

finishs and leaves the audience to screen through the inside informations and

happen decisions themselves. In this drama, Jones uses realistic,

realistic and non-realistic elements to convey societal issues such as

racism in the writer & # 8217 ; s ain disillusioned manner. Jones & # 8217 ; s portraiture is

supported with the influences of Bertolt Brecht and Antonin Artaud,

whose ain disenchantment enhanced their plants and greatly diversified

theatrical conventions. & # 8220 ; Dutchman & # 8221 ; is a drama that should be talked

approximately by its audience so they can take portion cleanse themselves of the

issues within, hence, as many decisions can be drawn by the

individu! ALSs exposed in this drama as there are Numberss of people that

have seen or read it.

Realism and naturalism arose out of a universe which was

progressively going scientifically advanced. Airplanes,

railwaies, cars, steamboats and communicating progresss

such as telecasting, wireless, the telephone and the telegraph

increased the velocity and the sum of information that homo

existences can direct. Realism and naturalism & # 8221 ; . . . originate in portion

as responses to those new societal and philosophical conditions

( Cameron and Gillespie, pg. 335 ) . & # 8221 ; Following in a realistic

manner, Jones sets his drama in modern-day times and in a modern-day

place- the metro. Jones sets the scene with a adult male sitting in a metro

place while keeping a magazine. Dim and wavering visible radiations and darkness

whistling by against the glass window to his right. These aesthetic

adornments give the semblance of velocity associated with metro travel.

Realists believed that the most effectual intent of art was to better

humanity by portraying modern-day life and its jobs in realistic

scenes. Jones depicts racism and slaying in a modern scene to

remind us that racism and racially motivated slayings are non issues

merely relegated to our state & # 8217 ; s past, nor is the issue of

institutionalised racism.

Jones besides used non-realistic elements in his drama and was

likely influenced by Bertolt Brecht in making so. Brecht one time

wrote that & # 8221 ; . . . to believe, or compose or bring forth a drama besides

agencies to transform society, to transform the province, to subject

political orientations to shut examination ( Goosens, 1997 ) . & # 8221 ; Jones was

influenced by Brecht by bring forthing a drama in a radical

poetic manner which scrutinizes political orientations of race. Jones besides

modeled Brecht & # 8217 ; s manner of character development, making

^verfremdung & # 8217 ; ( alienation ) . Brecht reasoned that & # 8221 ; . . . adult male

is such and such because fortunes are such ( Goosens,

1997 ) . & # 8221 ; This consequence explains the slaying of Clay ensuing from

a society that has perpetuated institutionalised racism and

segregation as historically acceptable. Brecht & # 8217 ; s aspiration

was to arouse an audience into reforming society and to go forth

an audience with the N

eed to take action against a societal

job in order to finish an emotional cleaning coined,

^Theatre of Alie! nation. & # 8221 ; Jones doubtless has the same

end in head while making & # 8220 ; The Dutchman. & # 8221 ;

Antonin Artaud besides had an influence on the theater, and

perchance on Jones. & # 8220 ; Artaud advocated a entire spectacle with

visible radiations, violent gestures and noise in topographic point of music ( Barber,

1990 ) . & # 8221 ; Artaud & # 8217 ; s manner for theater and film, envisioned as

Theatre of Cruelty, shattered representations of spoken

linguistic communication and carefully orchestrated theatrical action. Artaud

directed his rage against a society which was in a province of

changeless confrontation by prefering controlled composing against

dream imagination. Jones & # 8217 ; s usage of duologue where nil is what

is seems unless spoken by Clay is an illustration of Artaud & # 8217 ; s manner

of rage. Lula exemplifies this besides through her duologue with

its slippery fairness which finally causes Clay to react

honestly with a rage of his ain. This rage expresses more

truth about the heads of black America in a nutshell than

countless books on U.S. interracial dealingss have portrayed.

The drama nears its decision as Lula violently kills Clay with

wild and natural Ob! literation, stoping this carefully

orchestrated secret plan. The usage of realistic and realistic elements as

good as non-realistic elements makes LeRoi Jones & # 8217 ; drama, & # 8220 ; Dutchman, & # 8221 ; a

loanblend. The realistic elements include the scene ( a metro manager

rushing along through the subterraneous universe of visible radiations and busy

Stationss ) . The characters, Clay and Lula, are existent people with existent

histories and existent dockets confronting a existent issue- racism. The

non-realistic elements which predominate in & # 8220 ; Dutchman & # 8221 ; include Brecht & # 8217 ; s

verfremdung and the component of Theatre of Alienation, every bit good as

Artaud & # 8217 ; s racy duologue and violent gestures elemental in his Theaters

of Cruelty. Because & # 8220 ; Dutchman & # 8221 ; is a loanblend, it deserves a new

classification that represents Jones & # 8217 ; s manner. A term that can depict

this manner is & # 8220 ; Theatre of Illumination. & # 8221 ; The Theatre of Illumination

sheds light on each person & # 8217 ; s unconscious logical thinking which forces the

audience to uncover its ain consciousness. When this happens, the

audien! Ce can be ready to dispute their ain opinions in a

constructive manner. On the surface, there can ever be supported

concluding found for any bias or preconceived impression, but the

Theatre of Illumination transcends the surface preoccupations of

logical thinking and dissolves the mists that shroud everyone & # 8217 ; s evident

sentiments and renders humanity naked, childish and in our primordial

province of seeking love and credence. In this province, we search for

anyone who will unconditionally love us, and accept them for that. The

Theatre of Illumination awakens our Black Marias with longing, sobbing and

human penitence as we realize the wrongs that are possible, and besides

recognize how useless those wrongs really are.


Barber, Stephen. & # 8220 ; Antonin Artaud. & # 8221 ; 1990.

Cameron, Kenneth and Gillespie, Patti. Enjoyment of Theatre. Allyn and Bacon, Boston, 4th erectile dysfunction. 1996.

Goosens, Shay. & # 8220 ; Bertolt Brecht: A Theatrical Genius. & # 8221 ; 1997.

Jones, LeRoi. Dutchman. William and Morrow, New York, New York. 1964.

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