극작가가 살해한 남자: 『더치맨』의 클레이
The Man Who Was Killed by a Playwright: Clay in Dutchman
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Baraka’s revolutionary theatre in the 1960s aimed at presenting a series of dramas inextricably linked to the Afro-American political dynamic. The Black Arts theatre was a radical alternative to the sterility of the Afro-American theatre then. Baraka’s revolutionary theatre was one of the Black Arts theatre repertories then. He wanted his theatre to be one of the foremost black theatres confronting the black male in his interaction with the white people as presented in Dutchman. The encounter and relationship between Clay and Lula mirrors the historical castration of black manhood since the slavery. Baraka insists that the black people cannot acquire the place and power by imitating and/or absorbing white style in the main stream of the white society. He urges and persuades the black audience not to be caught with the fantasy of harmonious co-existence with the white people through the murder of Clay, a naive and pseudo young white/black male.
Abstract
Baraka’s revolutionary theatre in the 1960s aimed at presenting a series of dramas inextricably linked to the Afro-American political dynamic. The Black Arts theatre was a radical alternative to the sterility of the Afro-American theatre then. Baraka’s revolutionary theatre was one of the Black Arts theatre repertories then. He wanted his theatre to be one of the foremost black theatres confronting the black male in his interaction with the white people as presented in Dutchman. The encounter and relationship between Clay and Lula mirrors the historical castration of black manhood since the slavery. Baraka insists that the black people cannot acquire the place and power by imitating and/or absorbing white style in the main stream of the white society. He urges and persuades the black audience not to be caught with the fantasy of harmonious co-existence with the white people through the murder of Clay, a naive and pseudo young white/black male.
참고문헌 (15)
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