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Posts Tagged literature

Making the Past Present

Something you’ll hear a lot about in regards to Idiot’s Delight, is the history of the events taking place and how it can arguably be a mirror to today’s world. If history does indeed repeat itself, then can this play serve as a guide book to our future? Perhaps not even a guidebook, but a warning? With stakes that high, I wouldn’t recommend missing out on this one!

Dramaturg Kit Gordon. (Courtesy photo)

Helping to make sense of all this, for the actors as well as the audience, is the role of the dramaturg. Serving in this role is long time Girl Friday dramaturg, Kit Gordon, who has been involved with the company since the earliest days. She is also a company member of Theatre Pro Rata and has served as their resident dramaturg for a number of years as well. 

What skills lend themselves to being a good dramaturg? Certainly a passion for history and theatre, but also finding a joy in academic research. Gordon studied all of it in college and worked in the humanities, English literature and women’s studies. She then went on to complete her PhD in English, with a focus on Shakespeare within her own experiences as a teacher, writer and theatre practitioner. Up until 2013, her day job was an undergraduate academic adviser at the University of Minnesota.

When it comes to dramaturgy, Gordon’s loves the research but is quick to point out that her job is “not to have all the answers but to know where to find them”, as stated in a 2014 interview with Chris Hewitt in the Pioneer Press

I asked her to expand upon some of the themes of Idiot’s Delight and comment on all of the drawing-a-parallel-to-our-modern-world talk that’s been going on with this play. Echoing sentiments of Adelin Phelps and Craig Johnson, she says:

 

Our world is in some ways more complex than it was in 1936, but people are still people – and some of them are dangerous. While the parallels are not exact, the emotions that spring from our fears about what might happen (with ISIS, with North Korea, with radical political movements in the U.S.) are similar to those felt by characters in the play… I think that by exploring the dilemmas of the characters in the play, we explore our own.”

 

No matter what the “big picture” is, it seems to all boil down to the people in the room and the relationships they hold with each other. That’s what turns a good story into a riveting drama and what Girl Friday excels so much at bringing to life. Like any meaningful work of art, this play has an ability to make you think. Oh, you’ll laugh, for sure. Maybe so hard as to produce a tear, but you’re still bound to come away with a new sense of humanity – how special it really is to be able to live and love in peace.

You can check out Girl Friday’s website here and see the online study guide compiled by Kit Gordon! https://www.girlfridayproductions.org/upcoming-show

 

A Little Poetry from A Raisin in the Sun

In the very beginning of the script of Lorraine Hansberry’s A Raisin in the Sun there is a short poem byLangston Hughes. It is called “Harlem” and goes like this:

What happens to a dream deferred?
      Does it dry up
      like a raisin in the sun?
      Or fester like a sore—
      And then run?
      Does it stink like rotten meat?
      Or crust and sugar over—
      like a syrupy sweet?
      Maybe it just sags
      like a heavy load.
      Or does it explode?

The piece is vivid and compelling. It fills the reader with how essential dreams are to a person’s life by showing them what happens when they’re ignored, or deferred. Will they dry up, crust over or even explode?

A lot of critical analysis has gone into this poem and it is arguably Hughes’s most famous. I certainly read it in high school and was therefore pleasantly surprised when I put the pieces together between the poem and the play that takes it’s name from the third line.

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Park Square’s A Raisin in the Sun. Photo by Connie Shaver.

 

Clearly Hansberry was just as transfixed by the imagery and wanted to convey the same feelings in her own work. Like the play, Hughes’s poem is universal in it’s themes , although we all know he is specifically commenting on the experiences of African Americans. Could the poem be a warning then? While not especially violent in tone, you could definitely describe the writing as bleak and ominous. The last line, “Or will it explode?”, seems to jar the reader with a sudden sense of urgency. Your mind races as you contemplate what it would mean if a dream is deferred for so long that it ruptures into a million pieces, the shrapnel flying.

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Langston Hughes

Of course great works of literature are always relevant, but by looking at the world Hughes lived in, you can better understand this sense of urgency. “Harlem” was written in 1951, only seven years before A Raisin in the Sun, and just at the cusp of the modern Civil Rights movement; Brown v. Board of Education was in 1954 and Rosa Parks made a name for herself in 1955. The timeline is evident and it’s roots stretch even further back to the Harlem Renaissance of the 1920s and 30s where Langston Hughes and other African American artists first rose to prominence in the United States.

Hansberry had a rich legacy then to draw from and consequently enhance. Like Hughes before her, she created a work of art so compelling in its imagery that it has lived on to inspire others and now Park Square has the chance to bring it to life.

It’s all very exciting for any fans of literature and the dramatic arts, so this concludes today’s lesson. Study up and enjoy the show!

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