religions Article Tyler Perry and the Rhetoric of Madea: Contrasting Performances of Perry’s Leading Lady as She Appears on Stage and Screen Katherine Whitfield 1 and Andre E. Johnson 2,* 1 Formation for Ministry, Memphis Theological Seminary, Memphis, TN 38104, USA 2 Communication and Film, University of Memphis, Memphis, TN 38152, USA * Correspondence:
[email protected]; Tel.: +1-(901)-678-2565 Received: 15 May 2019; Accepted: 10 July 2019; Published: 16 July 2019 Abstract: In this essay, we will explore the variances in Madea’s character and presence on stage and on screen in both productions of Tyler Perry’s Madea Goes to Jail: The Play and Madea Goes to Jail. Specifically, we examine the multiple and varying ways in which the character of Madea performs for different audiences by examining how the roles of violence, religion and wisdom operate on stage and screen. Exploring the subtle—and at times, not-so-subtle—ways in which Madea’s performances differ from stage to screen, we suggest that Madea also performs as a text that Perry then uses to impart different messages to audiences of both stage and screen. Keywords: Tyler Perry; rhetoric; media; film; theater; black studies; popular culture 1. Introduction Industry leaders recognize Tyler Perry as one of the most successful Black entertainers of all time.1 As the first African American to own a major film studio, Perry has also realized success as an actor, playwright, filmmaker and producer. Even those who have never seen a Tyler Perry production will likely recognize his name as synonymous with that of his signature character, Madea.