앨리스 칠드러스의 초기극과 인종차별의 공간화
The Spatialization of Racial Segregation in Alice Childress’s Early Plays
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This essay examines the ways in which racial segregation is spatially represented on stage by assessing its political significance in Alice Childress's early plays, Florence, Trouble in Mind, and Wedding Band. It analyzes how the ideology of white supremacy functions to construct black space both physically and imaginatively on the basis of the difference of color, thereby legitimatizing the spatial distinction between blacks and whites. Racial prejudice enforces segregation in spaces for blacks, while preventing them from exercising the rights of place taken for granted by their white counterparts. The settings for their everyday life are the confines mandated by Jim Crow Laws, exemplified in waiting rooms at railway stations, polling places, and places of residence. Upon examination of spatial distinctions as a fundamental cause of racial disparities, it becomes clear that Alice Childress attempted to use realism to describe black spaces discriminately constructed by whites in racial relations between them. Through this essay I argue that Childress's early plays paved the way for establishing the space of freedom for blacks with respect to the spatialization of race by causing the audience to acknowledge the necessity of change through the spatial visualization of racial segregation.
Abstract
This essay examines the ways in which racial segregation is spatially represented on stage by assessing its political significance in Alice Childress's early plays, Florence, Trouble in Mind, and Wedding Band. It analyzes how the ideology of white supremacy functions to construct black space both physically and imaginatively on the basis of the difference of color, thereby legitimatizing the spatial distinction between blacks and whites. Racial prejudice enforces segregation in spaces for blacks, while preventing them from exercising the rights of place taken for granted by their white counterparts. The settings for their everyday life are the confines mandated by Jim Crow Laws, exemplified in waiting rooms at railway stations, polling places, and places of residence. Upon examination of spatial distinctions as a fundamental cause of racial disparities, it becomes clear that Alice Childress attempted to use realism to describe black spaces discriminately constructed by whites in racial relations between them. Through this essay I argue that Childress's early plays paved the way for establishing the space of freedom for blacks with respect to the spatialization of race by causing the audience to acknowledge the necessity of change through the spatial visualization of racial segregation.
참고문헌 (14)
- Abramson, Doris E., "Negro Playwrights in the American Theatre" (1969), Columbia UP
- Austin, Gayle, "Alice Childress: Black Woman Playwright as Feminist Critic", Southern Quarterly, 25(3), pp.53~62 (1987)
- Barnes, Clive, "Childress' Play Opens at Public Theater", New York Times, 30~ (1972)
- Brown, Barnsley, "Celebrating the (Extra)Ordinary: Alice Childress's Representation of Black Selfhood, In Black Women Playwrights: Visions on the American Stage", pp.131~153 (1999), Garland
- Bryer, Jackson, "Alice Childress, In The Playwright's Art: Conversations with Contemporary American Dramatists", pp.48~69 (1995), Rutgers UP
- Childress, Alice, "Florence, In Wines in the Wilderness: Plays by African American Women from the Harlem Renaissance to the Present", pp.110~121 (1990), Greenwood
- Childress, Alice, "Trouble in Mind, In Black Drama in America: An Anthology", pp.291~346 (1971), Howard UP
- Childress, Alice, "Wedding Band, In 9 Plays by Black Women", pp.75~133 (1986), New American Library
- Curb, Rosemary, "An Unfashionable Tragedy of American Realism: Alice Childress's Wedding Band", Melus, 7, pp.57~68 (1980)
- Diggs, Soyica, "Dialectical dialogues: Performing Blackness in the Drama of Alice Childress, In Contemporary African American Women Playwrights: A Casebook", pp.28~46 (2007), Routledge
- Du Bois, W. E. B., "The Souls of Black Folk" (2008), Arc Manor
- Jennings, La Vinia D., "Alice Childress" (1995), Twayne
- Lisker, Donna, "Controversy Only Means Disagreement: Alice Childress's Activist Drama, In Southern Women Playwrights", pp.73~88 (2002), U of Alabama P
- Oliver, Edith, "Review of Wedding Band", New Yorker, 105~ (1972)