People lead to more people" (46). Throughout Fires in the Mirror, Smith considers how people construct their notions of selfhood, particularly how they see themselves in relation to their community and race. It's one of the consolations of first-rate art that there is always hope in being able to see with newly unobstructed eyes.
Thu, April 22 @ 7:30pm. Mirrors and Distortions – Aaron M. Bernstein intellectually theorizes how mirrors can distort images both scientifically and in literature. The book emphasizes that Kunta never lost his pride and connection to his African heritage. After seeing the original 1992 production The New York Times theatre critic Frank Rich wrote, "FIRES IN THE MIRROR is quite simply, the most compelling and sophisticated view of racial and class conflict that one could hope to encounter. Two final quotes mirror each other and describe the death of the young child and the death of a visiting Jewish student from Australia who was stabbed by black men later the same day. Most characters have one monologue; the Reverend Al Sharpton, Letty Cottin Pogrebin and Norman Rosenbaum have two monologues each. And go from well-read to best read with book recs, deals and more in your inbox every week. 101 Dalmatians – George C. Wolfe talks about racial identity and argues that "blackness" is extremely different from "whiteness". It was the usual display of egotism, ecstasy, and entropy. He then flew to Israel personally to serve legal papers to Yosef Lifsh, the bodyguard who ran over Gavin Cato.
These theatrical discussions, however, are inevitably tied up with the claims of authority and historical truth which I wish to examine here. Norman Rosenbaum gives a speech about the injustice of his brother's stabbing. Diverse Perspectives. How does his/her public perception compare to his/her portrayal in Smith's play? When no one wants to do anything to stop Lifsh from getting away, the young man starts to cry. As much provocation as it is exploration, this landmark play launches Anna Deavere Smith's Residency 1 at Signature. A Raisin in the Sun. Source: Scott Trudell, Critical Essay on Fires in the Mirror, in Drama for Students, Thomson Gale, 2006. The overall arc of the play flows from broad personal identity issues, to physical identity, to issues of race and ethnicity, and finally ending in issues relating to the Crown Heights riot. In the scene "Isaac, " Letty Cottin Pogrebin reads a story about her mother's cousin, who participated in Nazi gassing in order to survive the Holocaust.
He then goes on to explain the difference between a mirror that reflects reality and a mirror that reflects perception. Smith's first play/documentary for On the Road was produced in Berkeley, California, in 1983. His hesitancy and the sense that he is trying to convince himself of the truth of what he is saying throws doubt over the independence of his black identity. Lingering – Carmel Cato closes the play by describing the trauma of seeing his son die, and his resentment toward powerful Jews. No Blood in His Feet – Rabbi Joseph Spielman describes the riot events; he believes that blacks lied about the events surrounding the death of the boy Cato in order to start anti-Semitic riots. In 1993, Fires in the Mirror was published in book form, was a runner-up for a Pulitzer Prize, and was televised by PBS as part of the "American Playhouse" series. Letty Cottin Pogrebin reflects on how if you want a headline, "you have to attack the Jews, " though "only Jews regard blacks as full human beings. Beyond the sociopolitical thematics of her work, Smith has been incorporated into public discourses on race because her dramaturgical techniques have aligned her with other types of public discourses such as oral histories, documentary reponage, television talk shows, and network news broadcasts. Lousy Language – Robert Sherman explains that words like "bias" and "discrimination" are not specific enough, leading to poor communication. The effective reason is that the audience's perspective is pushed to be less biased because they have one person displaying all these diverse points of view. It uses the same format as Fires in the Mirror and has received wide critical acclaim, including an Obie Award. A quote from the monologue of Robert Sherman reflects the nature of the tensions in the community, all of which are built on prejudice.
This is early in the play, and it's important because everyone's view of the situation in Crown Heights is different. It's not just that the judges are self-interested theater people voting their opinions and prejudices, or that the prizes are so clearly designed to boost box office, or that internecine competition is incompatible with a creative process based on difference. Rabbi Spielman's one-sided explanation of the accident and the events that followed reveal that he is unable or unwilling to view the situation from the perspective of members of the black community. For example, when the discussion of hair came up, it immediately was something that was tailored to show the struggle of many black people when it comes to their hair. He goes on to say that we don't have the right language to address the problem, which is probably a reflection "of our unwillingness to deal with it honestly and to sort it out. In 1991, in the Crown Heights section of Brooklyn, New York, a member of the Lubavitch branch of Hasidic Judaism lost control of his car, jumped the curb, and killed a seven-year-old black child. Close nevertheless seemed to share Witchel's weakness for Hollywood hunks, whinnying like a mare over Alec Baldwin (and perhaps inflaming feminists further by introducing Michael Douglas as "my fatal attraction"). By recognizing only shows produced within a fourteen block area, the Tonys manage to exclude from consideration (except for a single award to a resident theater—this year the Goodman) about 99 percent of the nation's theatrical activity. He boasts about how he was hired by Alex Haley to keep Roots honest, and then says he was betrayed when Haley went off to make a series on Jewish history. On the other hand, when it came to discussing identity, numerous members of both the Jewish and black community, stated that feeling like they were fitting in their community contributed to their identity and how they viewed it from a self-perspective. The two people—plus many others: men and women, professors and street people, blacks, Jews, rabbis, reverends, lawyers, and politicians—are enacted by Anna Deavere Smith, an African American performer of immense abilities. Find something that "both sides" talk about and tell me how you see similarities and differences. In "Bad Boy, " an anonymous young man contends that the sixteen-year-old blamed for Yankel Rosenbaum's murder is an athlete and therefore would not have killed anyone.
Smith works by means of deep mimesis, a process opposite to that of "pretend. " The anonymous girl of "Look in the Mirror" is a "Junior high school black girl of Haitian descent" who lives near Crown Heights. Three hours later, a group of black youth attacked Yankel Rosenbaum, a twenty-nine year old Hasidic student, visiting from Australia. Four video monitors in chrome étageres flank the stage. Nor does she lose herself. Production Team: Director - Katrinah Carol Lewis. Smug and self-satisfied, Sonny Carson warns of another "long hot summer, " and Sharpton, flying to Israel in a media-savvy effort to arrest the driver of the car that struck Cato, announces, "If you piss in my face I'm gonna call it piss, I'm not gonna call it rain. "
He explains that what is "devastating" him is that there is no justice because Jews are "runnin' the whole show. " Angela Davis, for example, stresses that race is a flexible and even arbitrary construction, in her scene "Rope. " The most harrowing words, though, belong to the survivors of the dead. People on both sides of this conflict can claim to be victims of injustice and prejudice, but the scariest thing about the incident, aside from the absence of leadership and appalling mismanagement by the city, was the tinderbox nature of the community, a condition magnified in Los Angeles. Production Designer - Todd Labelle. One quote is from the monologue of Letty Cotton Pogrebin.
By this time, he had developed a profound interest in working as an advocate for black social advancement, and he had begun to espouse some of his key theories about race and race relations. The ensuing scenes continue to provide insights into what identity actually is and how people develop a racial self-consciousness. Rage – Richard Green says that there are no role models for black youths, leading to rage among them. Schneerson was the spiritual leader of the Orthodox Jewish community.
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