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The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's the Piano Lesson

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The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's the Piano Lesson University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson Ingrid Marable University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Marable, Ingrid, "The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson" (2009). Electronic Theses and Dissertations, 2004-2019. 4150. https://stars.library.ucf.edu/etd/4150 THE WOMEN OF AUGUST WILSON AND A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF GRACE IN WILSON’S THE PIANO LESSON by INGRID A. MARABLE B.A. University of Virginia, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer 2009 © 2009 Ingrid A. Marable ii ABSTRACT In the fall of 2007, I was cast in the University of Central Florida’s production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. In addition to the performance components, my thesis materials will include historical and cultural character research and a reflective journal documenting my rehearsal and production process. My character research and journal will address questions about the characters “choices” and the relationship of their environment to views of personal responsibility and obligations in the play. I will examine the characters’ relationships and situations in the play, investigating some of the decisions that these characters make in response to their cultural and social landscapes. The second part of my thesis will include research on three additional female characters from August Wilson’s dramatic canon: Aunt Ester Tyler from Gem of the Ocean, Ma Rainey from Ma Rainey’s Black Bottom, and Rose from Fences, which will inform my character explorations of Grace and Berniece, and the choices that I make during the rehearsal process in developing their journeys. By reading other plays by Wilson, I endeavor to deepen my understanding of the struggles of African-American women in the twentieth century, and explore how the social and economic status of black women was affected by America’s changing political and social climate over several decades. In addition, I will document how my visceral experience of performing the roles of Grace and Berniece relates to my intellectual process of exploring the journeys of Aunt Ester Tyler, Ma Rainey, and Rose. iii For my mother, who at an early age fostered my love for theatre. iv ACKNOWLEDGEMENTS I would like to express my gratitude to everyone who helped me throughout my thesis process: my committee members-Be Boyd, Mark Brotherton, Kate Ingram, and Julia Listengarten, as well as my family members-Yvonne Walker, Poppy Marable, and Marvin Marable. I could not have completed it without your support and guidance. And I would like to thank Mr. Earl Jackson for always encouraging me to study my African American culture. I also would like to thank my graduate professors Be Boyd, Kate Ingram, Chris Niess, and JJ Russella, who have each encouraged me to let go and take risk with my acting by freeing my voice, body and mind; and Megan Alrutz and Julia Listengarten who have taught me to think outside of the box. A special thanks goes out to the cast of the University of Central Florida’s production of The Piano Lesson and everyone who contributed to the production. I will cherish the memories forever. v TABLE OF CONTENTS INTRODUCTION: EVOLUTION OF THESIS PROJECT................................................. 1 CHAPTER ONE: BLACK LIFE IN THE 1930s................................................................. 4 Living Under Jim Crow................................................................................................ 4 The Origins of Jim Crow........................................................................................... 4 Discrimination........................................................................................................... 7 Black Migration: Opportunity In the North ................................................................... 9 Family Life: Working Black Women .......................................................................... 15 Black Beauty: Mimicry of White Standards of Beauty ............................................... 20 CHAPTER TWO: THE PIANO LESSON ....................................................................... 22 Plot Structure of The Piano Lesson .......................................................................... 28 Berniece’s Journey in The Piano Lesson.................................................................. 29 The Piano............................................................................................................... 29 Burden of Crawley’s Death .................................................................................... 32 Maretha.................................................................................................................. 35 Womanhood........................................................................................................... 36 Ancestors ............................................................................................................... 40 CHAPTER THREE: GRACE: THE SULTRY SEDUCTRESS........................................ 43 Pride ......................................................................................................................... 44 Identity ...................................................................................................................... 45 Ancestors.................................................................................................................. 45 Name ........................................................................................................................ 45 vi Ocean ....................................................................................................................... 45 Legacy ...................................................................................................................... 46 Emancipation Proclamation ...................................................................................... 46 Soul........................................................................................................................... 47 Spirits........................................................................................................................ 47 Overcome ................................................................................................................. 47 Never Again .............................................................................................................. 47 Grace Character Analysis ......................................................................................... 48 Physical Qualities................................................................................................... 48 Social Qualities ...................................................................................................... 51 Psychological Qualities .......................................................................................... 57 Moral Qualities ....................................................................................................... 58 Play Qualities ......................................................................................................... 59 Grace and Berniece’s choices .................................................................................. 60 CHAPTER FOUR: “GRACE- LIKE” CHARACTERS IN WILSON’S PLAYS .................. 63 Molly Cunningham from Joe Turner’s Come and Gone ........................................ 63 Dussie Mae from Ma Rainey’s Black Bottom ............................................................ 65 Dolly from The Piano Lesson and Alberta from Fences............................................ 65 Ruby from Seven Guitars.......................................................................................... 66 CHAPTER FIVE: WOMEN PIONEERS AND ENDURING WIVES ............................... 68 Women Pioneers ...................................................................................................... 68 Aunt Ester from Gem of the Ocean........................................................................ 68 Ma Rainey from Ma Rainey’s Black Bottom ........................................................... 69 vii Mame Wilks from Radio Golf............................................................................... 70 Enduring Wives......................................................................................................... 71 Rose from Fences.................................................................................................. 72 Berniece from The Piano Lesson..........................................................................
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