随笔

探索宇宙和顿萨克·尚杰的专项之间的紧张关系有色女孩

那么现在,山歌的工作响应紧急白热化哼着疼痛和体面的紧巴巴的表面之下。在公共剧场耀眼的复兴提醒其永恒的美。

Alexandria Wailes (center) and the company of 有色女孩谁曾考虑自杀/当彩虹enuf, written by Ntozake Shange and directed by Leah C.Gardiner, with choreography by Camille A.Brown, running at The Public Theater (all images courtesy the Public Theater;all photos by Joan Marcus)

When writing (and reading) about the recent revival of Ntozake Shange’s有色女孩谁曾考虑自杀/当彩虹enufby the Public Theater, I have noticed the tendency to insert a sense of legibility when describing the play.It is an attempt to construct a linear narrative inside the lyrical prose, to perhaps smoothen the rough parts to protect the reader from its harsh, more uncomfortable realities.Presumably, it is in the concept of the universal that many of these perspectives are invested.However, it is the specific tragedies of racist and sexual violence, the psychological burden of street harassment and other normalized discriminations that make Shange’s masterpiece so deeply aligned with Black women’s experiences.Shange delivers her narrative with uncompromising beauty, intent on encapsulating the nuances of Black female subjectivity, as well as revealing her own.

Jayme Lawson and Adrienne C.Moore in 有色女孩谁曾考虑自杀/当彩虹enuf

In 1976, the Public Theater was the first to produce有色女孩before the play moved onto a two-and-a-half-year run at the Booth Theater on Broadway, unfurling a legacy of performances at theaters, colleges, and universities across the country.Then and now, Shange’s work responded to an urgent fever pitch humming beneath the taut surface of pain and respectability.In this latest dazzling iteration, directed by Obie winner Leah C.Gardiner, we are reunited with these critical voices in their original off-Broadway home.The cast members enliven the piece with a contemporary energy combined with the breathtaking passion of Camille A.Brown’s choreography.They are a mixture of theater and television actresses: Celia Chevalier (of女子监狱, as the Lady in Brown), Sasha Allen (Lady in Blue), Adrienne C Moore (Lady in Yellow), Danaya Esperanza (Lady in Orange), Jayme Lawson (Lady in Red), Okwui Okpokwasili (Lady in Green), and Alexandria Wailes (Lady in Purple), who is also deaf, in a sensational performance in a role that was not本来written for a deaf performer.Each actress invites the audience into their community of dance, story, and song, with original music by Martha Redbone.Alongside this sense of universality lies an undeniable sense of shared knowledge, a separate conversation between women of color, akin to the Lady in Brown’s conjuring in the early moments of the play,让她出生让她出生和热烈处理。This presentation of有色女孩occurs just one year after Ntozake Shange’s death at age 70.她 had been in会谈with Gardiner about plans to remount the production, but would not live to see the revival of her groundbreaking work.

The company of 有色女孩谁曾考虑自杀/当彩虹enuf

In the 40 years since the play first debuted, Shange produced a prolific body of work, spanning from plays to poetry collections, novels, and a cookbook, most of which utilized her fragmented and inventive style of prose.One of her most recent books is the epic novel,有的唱歌,有的惊魂, written in collaboration with her sister, Ifa Bayeza.Shange’s early career was characterized by turmoil;after her marriage failed, Shange attempted suicide四次。Poetry is believed to be what encouraged her shift in course, demonstrated in the use of dance and song by the characters from有色女孩as an attempt to stave off pain.

Celia Chevalier (foreground) in 有色女孩谁曾考虑自杀/当彩虹enuf

While the自杀率for Black teenage boys has risen since 2017, the lower recordings of Black female suicides indicate an缺席of empirical or qualitative research.有色女孩asserts the importance of the psychological stakes of identity, apparent in Shange’s use of the word “consider” in her play’s title.To “consider” need not involvecomplete acceptance or rejection。Rather, to consider is to take inventory of one’s options.Often, it is the distance between giving up or giving in.正宗的叙述如山歌的是罕见的,更浪漫忧伤的叙事比比皆是大众媒体,如金博宝首页在索菲亚·科波拉的电影1999年,处女自杀改编自杰弗里·尤金尼德斯小说 - 从我这一代的影响力“伤心女孩”的象征。Netflix的系列,13个原因- 一个有争议的尝试面对年轻人当中流行这个问题 - 也浮现在脑海。然而,正是山歌同时接受审查和主流好评黑人女性的情感交往的不折不扣的研究。尽管普遍成功有色女孩,山歌收到很多报价再现节目的前提。她抵制, 说明, ”它的所作所为对我来说是尽量合身圆PEG ......到一大堆平方米的建筑。” She was even criticized for speaking up at all, with detractors suggesting that the examination of sorrow reflects privilege, typically aligned with dominant culture.如果一个基于他们的自杀以及其在大众媒体表示抑郁症的认识,人们甚至可能会同意。金博宝首页在复兴,这种批评是直接处理了夫人在布朗:我们处理机智的情感太多了,我们为什么不提前去和白那么。骑士的夫人在布朗立即驳斥这种想法;她的反应在阴沉色调的关键,也幽默的突破,标志着给观众,我们再也不能给到这样堕落的思想。

中途复兴的表现,我意识到,舞台背景出现制成悬镜像板组成。在风景秀丽的设计师明熙卓辉煌的举动,镜子被放置以反映观众,并在同一时间的表演。在某些点上,观众可以看到自己,准备“考虑”,同时也见证了表演者的脆弱性。通过对永恒有色女孩,这种审美选择放大参与叙事的张力,既通用和专用,使我们想知道的产量可能看起来像在另外40年。

该公司对 彩色女孩谁曾考虑自杀/当彩虹enuf

有色女孩谁曾考虑自杀时/时候,彩虹是enuf在公共剧场到2019年12月15日继续进行。的顿萨克·尚杰的戏剧复兴是由利亚C.执导加德纳与卡米尔A.编排棕色。

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