DOCSLIB.ORG

Postmodern Period 1945 – Present Thoughts on the Play

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Postmodern Period 1945 – Present Thoughts on the Play Name Period HARLEM (1951) 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? LANGSTON HUGHES Postmodern Period 1945 – Present Lorraine Hansberry (May 19, 1930 – January 12, 1965) • Hansberry grew up on . • When she was eight, the family moved to a , in protest of restrictive covenants. • Hansberry married Robert Nemiroff, a , but they later amicable divorced, and by the last decade of Hansberry’s short life, she . • A Raisin in the Sun opened in and was the first play by an African American woman to be produced . It has appeared in languages and successful film adaptations, including the original version, starring almost all of the original theatrical cast members and utilizing a screenplay written by Hansberry herself. Thoughts on the play • from New York Times critic Brooks Atkinson: “The play . is likely to destroy the complacency of anyone who sees it.” • from James Baldwin (1924-1987), African American novelist, essayist, playwright, poet, and social critic: “Never before, in the entire history of the American theater, had so much of the truth of black peoples’ lives been seen on the stage.” • from Lorraine Hansberry (letter to her mother): “It is a play that tells the truth about people, Negroes, and life, and I think it will help a lot of people to understand how we are just as complicated as they are—and just as mixed up—but above all, that we have among our miserable and downtrodden ranks—people who are the very essence of human dignity. That is what, after all the laughter and tears, the play is supposed to say.” Harris, English III H A Raisin in the Sun A Raisin in the Sun (1959) 1961 film viewing guide Cast Ruth Younger Ruby Dee Travis Younger Stephen Perry Walter Lee Younger Sidney Poitier Beneatha Younger Diana Sands Lena Younger (Mama) Claudia McNeil Joseph Asagai Ivan Dixon George Murchison Louis Gossett Lindner John Fiedler Bobo Joel Fluellen The act and scene divisions are done according to the play. Act 1, scene 1 1. Describe the Younger family’s apartment. 2. How do the “It’s time to get up!” episode and the “Eat your eggs” conversation establish the personalities of Walter Lee and Ruth? 3. Why can’t Travis get enough sleep at night? 4. According to Walter, what does a man need? 5. What does Walter want to do with Willy and Bobo? 6. What does Walter do for a living? 7. What does Walter’s sister, Beneatha, do? What does she hope to become in the future? 8. Summarize Walter Lee’s view of women in the world. 9. What sort of tension exists between Mama and Ruth? A Raisin in the Sun 10. What is the family anxiously awaiting? 11. Name some of the possible ways the family might spend the money. 12. What tragedy did Mama and Big Walter undergo? What did it cause him to do? 13. According to Mama, why does God give people children? 14. In what sense does Travis, through no fault of his own, create conflict in scene i? 15. List some of Beneatha’s extracurricular activities. 16. What is Beneatha’s opinion of George Murchison? Of marriage? Of God? 17. How does Mama react to Beneatha’s opinion of God? Act 1, scene 2 18. What does Mama think is wrong with Ruth? 19. Who is Joseph Asagai? Where is he from? 20. What does Asagai bring Beneatha? What do you think he represents to her? 21. What is Beneatha looking for? 22. What is Asagai’s nickname for Beneatha? What does it mean? Alaiyo 23. How does Mama react to the insurance check? A Raisin in the Sun 24. Where did Ruth go instead of going to Dr. Jones? 25. What is Walter Lee’s bad habit? 26. What does Mama say is dangerous? 27. Why does Mama say that Walter Lee is a disgrace to his father’s memory? Act 2, scene 1 28. How is Beneatha dressed? Where did she get her “outfit”? 29. Why doesn’t Ruth join Beneatha and Walter? 30. How does George Murchison react to Beneatha and Walter Lee? 31. Compare George to Asagai. 32. How does Walter Lee feel about college? 33. Who is Prometheus? Why would George compare him to Walter? 34. How does Walter react to the news that Mama spent the money on a house? 35. List some key details about the new house. 36. Why does Mama want the house? A Raisin in the Sun Act 2, scene 2 37. How does Mama show Walter Lee that she trusts him? gives him the remaining $ . Asks him to put $ in the bank for Beneatha’s education and $ in a savings account with his name on it. Act 2, scene 3 38. What do Ruth, Beneatha, and Walter give Mama as a gift? What does Travis give her? 39. Who is Lindner? What does he want? 40. Why does Beneatha say, “Thirty pieces and not a coin less”? 41. What does Mama’s plant symbolize? 42. What news does Bobo bring? 43. What do we learn about Walter’s investment? 44. Explain how the mood in Act II changes from beginning to end. Act III 45. Whom does Beneatha blame for the loss of the money? Why? 46. What does Asagai ask Beneatha? 47. What is Ruth willing to do in order to move? 48. According to Walter, the world is made up of two kinds of people? What are they? A Raisin in the Sun 49. How does Mama react to Walter Lee’s phone call to Lindner? 50. Why does Mama scold Beneatha? (“Have you cried for that boy today?”) 51. Why does Mama make Travis stay in the room when Lindner arrives? 52. Describe Walter Lee’s speech to Lindner. 53. At the end of the film, to what does Mama compare Walter Lee? Why? .
Load more

Recommended publications
  • A Mediagraphy Relating to the Black Man
    racumEN7 RESUME ED 033 943 IE 001 593 AUTHOR Parker, James E., CcmF. TITLE A Eediagraphy Relating to the Flack Man. INSTITUTION North Carclina Coll., Durham. Pub Date May 69 Note 82F. EDRS Price EDRS Price MF-$0.50 BC Not Available from EDRS. Descriptors African Culture, African Histcry, *Instructional Materials, *Mass Media, *Negro Culture, *Negro Histcry, Negro leadership, *Negro Literature, Negro Ycuth, Racial Eiscriminaticn, Slavery Abstract Media dealing with the Black man--his history, art, problems, and aspirations--are listed under 10 headings:(1) disc reccrdings,(2) filmstrips and multimedia kits, (3) microfilms, (4) motion pictures, (5) pictures, Fcsters and charts,(6) reprints,(7) slides, (8) tape reccrdings, (9) telecourses (kinesccFes and videotapes), and (10) transparencies. Rentalcr purchase costs of the materials are usually included, andsources and addresses where materials may be obtainedare appended. [Not available in hard cecy due tc marginal legibility of original dccument.] (JM) MEDIA Relatingto THE BLACKMAN by James E. Parker U.). IMPARIMUll OF !ULM,tOUGAI1011 &WINE OfFKE OF EDUCATION PeN THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON 02 ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS Ci STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION re% POSITION OR POLICY. O1 14.1 A MEDIAGRAPHY RELATING TO THE BLACK MAN Compiled by James E. Parker, Director Audiovisual-Television Center North Carolina College at Durham May, 1969 North Carolina College at Durham Durham, North Carolina 27707 .4 TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ii FOREWORD iii DISC RECORDINGS 1-6 FILMSTRIPS AND MULTIMEDIA KITS 7- 18 MICROFILMS 19- 25 NOTION PICTURES 26- 48 PICTURES, POSTERS, CHARTS.
    [Show full text]
  • Gospel Music and the Sonic Fictions of Black Womanhood in Twentieth-Century African American Literature
    “UP ABOVE MY HEAD”: GOSPEL MUSIC AND THE SONIC FICTIONS OF BLACK WOMANHOOD IN TWENTIETH-CENTURY AFRICAN AMERICAN LITERATURE Kimberly Gibbs Burnett A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the degree requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the Graduate School. Chapel Hill 2020 Approved by: Danielle Christmas Florence Dore GerShun Avilez Glenn Hinson Candace Epps-Robertson ©2020 Kimberly Gibbs Burnett ALL RIGHTS RESERVED ii ABSTRACT Kimberly Burnett: “Up Above My Head”: Gospel Music and the Sonic Fictions of Black Womanhood in TWentieth-Century African American Literature (Under the direction of Dr. Danielle Christmas) DraWing from DuBois’s Souls of Black Folk (1903), which highlighted the Negro spirituals as a means of documenting the existence of a soul for an African American community culturally reduced to their bodily functions, gospel music figures as a reminder of the narrative of black women’s struggle for humanity and of the literary markers of a black feminist ontology. As the attention to gospel music in texts about black women demonstrates, the material conditions of poverty and oppression did not exclude the existence of their spiritual value—of their claim to humanity that was not based on conduct or social decorum. At root, this project seeks to further the scholarship in sound and black feminist studies— applying concepts, such as saturation, break, and technology to the interpretation of black womanhood in the vernacular and cultural recordings of gospel in literature. Further, this dissertation seeks to offer neW historiography of black female development in tWentieth century literature—one which is shaped by a sounding culture that took place in choir stands, on radios in cramped kitchens, and on stages all across the nation.
    [Show full text]
  • Lloyd Richards in Rehearsal
    Lloyd Richards in Rehearsal by Everett C. Dixon A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy, Graduate Program in Theatre Studies, York University, Toronto, Ontario September 2013 © Everett Dixon, September 2013 Abstract This dissertation analyzes the rehearsal process of Caribbean-Canadian-American director Lloyd Richards (1919-2006), drawing on fifty original interviews conducted with Richards' artistic colleagues from all periods of his directing career, as well as on archival materials such as video-recordings, print and recorded interviews, performance reviews and unpublished letters and workshop notes. In order to frame this analysis, the dissertation will use Russian directing concepts of character, event and action to show how African American theatre traditions can be reformulated as directing strategies, thus suggesting the existence of a particularly African American directing methodology. The main analytical tool of the dissertation will be Stanislavsky's concept of "super-super­ objective," translated here as "larger thematic action," understood as an aesthetic ideal formulated as a call to action. The ultimate goal of the dissertation will be to come to an approximate formulation of Richards' "larger thematic action." Some of the artists interviewed are: Michael Schultz, Douglas Turner Ward, Woodie King, Jr., Dwight Andrews, Stephen Henderson, Thomas Richards, Scott Richards, James Earl Jones, Charles S. Dutton, Courtney B. Vance, Michele Shay, Ella Joyce, and others. Keywords: action, black aesthetics, black theatre movement, character, Dutton (Charles S.), event, Hansberry (Lorraine), Henderson (Stephen M.), Molette (Carlton W. and Barbara J.), Richards (Lloyd), Richards (Scott), Richards (Thomas), Jones (James Earl), Joyce (Ella), Vance (Courtney ii B.), Schultz (Michael), Shay (Michele), Stanislavsky (Konstantin), super-objective, theatre, Ward (Douglas Turner), Wilson (August).
    [Show full text]
  • Performing Citizenship
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2006 Performing citizenship: tensions in the creation of the citizen image on stage and screen John William Wright Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Wright, John William, "Performing citizenship: tensions in the creation of the citizen image on stage and screen" (2006). LSU Doctoral Dissertations. 3383. https://digitalcommons.lsu.edu/gradschool_dissertations/3383 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERFORMING CITIZENSHIP: TENSIONS IN THE CREATION OF THE CITIZEN IMAGE ON STAGE AND SCREEN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy In The Department of Theatre by John William Wright B.A., Berry College, 1991 M.F.A., University of Georgia, 1995 December 2006 ACKNOWLEDGMENTS When I began my Doctoral studies in 1999, I had no idea of the long, strange journey I would encounter in completing this work. Seven years later, I enter my third year on the faculty of the University of Wisconsin-Manitowoc. Every day I am reminded as I teach that I have, all this time, remained a student myself.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Chicago Black Renaissance Literary Movement
    CHICAGO BLACK RENAISSANCE LITERARY MOVEMENT LORRAINE HANSBERRY HOUSE 6140 S. RHODES AVENUE BUILT: 1909 ARCHITECT: ALBERT G. FERREE PERIOD OF SIGNIFICANCE: 1937-1940 For its associations with the “Chicago Black Renaissance” literary movement and iconic 20th century African-American playwright Lorraine Hansberry (1930-1965), the Lorraine Hansberry House at 6140 S. Rhodes Avenue possesses exceptional historic and cultural significance. Lorraine Hansberry’s groundbreaking play, A Raisin in the Sun, was the first drama by an African American woman to be produced on Broadway. It grappled with themes of the Chicago Black Renaissance literary movement and drew directly from Hansberry’s own childhood experiences in Chicago. A Raisin in the Sun closely echoes the trauma that Hansberry’s own family endured after her father, Carl Hansberry, purchased a brick apartment building at 6140 S. Rhodes Avenue that was subject to a racially- discriminatory housing covenant. A three-year-long-legal battle over the property, challenging the enforceability of restrictive covenants that effectively sanctioned discrimination in Chicago’s segregated neighborhoods, culminated in 1940 with a United States Supreme Court decision and was a locally important victory in the effort to outlaw racially-discriminatory covenants in housing. Hansberry’s pioneering dramas forced the American stage to a new level of excellence and honesty. Her strident commitment to gaining justice for people of African descent, shaped by her family’s direct efforts to combat institutional racism and segregation, marked the final phase of the vibrant literary movement known as the Chicago Black Renaissance. Born of diverse creative and intellectual forces in Chicago’s African- American community from the 1930s through the 1950s, the Chicago Black Renaissance also yielded such acclaimed writers as Richard Wright (1908-1960) and Gwendolyn Brooks (1917-2000), as well as pioneering cultural institutions like the George Cleveland Hall Branch Library.
    [Show full text]
  • An Oral History with Margaret B. Wilkerson
    Regional Oral History Office University of California The Bancroft Library Berkeley, California Margaret Wilkerson A LIFE IN THEATER AND HIGHER EDUCATION Interviews conducted by Nadine Wilmot in 2003-2004 Copyright © 2013 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Margaret Wilkerson, dated January 17, 2013. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. Excerpts up to 1000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited.
    [Show full text]
  • Reviews of the 1959 Play
    ● A Raisin in the Sun, 1959 Reviews By Roberta Cunha A Raisin in the Sun premiered at The Mandell Weiss Theatre at the La Jolla Playhouse and it ​ also opened at the Barrymore Theatre in New York on March 11, 1959, running for 530 performances. Hansberry’s play was very popular and successful, and she won the New York Drama Critics Circle Award for best play of the year, being the first Black woman to win this award, in 1960, and Hamberry’s play was also nominated for four Tony Awards: Best Play, Best Actor in a Play (Sidney Poitier), Best Actress in a Play (Claudia McNeil), and Best Direction of a Play (Lloyd Richards). One critic for the New York Times stated that A Raisin in the Sun “changed American theater forever” and represented a huge change for Black artists in the theater. The producers did not expect the play to become this popular and it received many mixed reviews by the audience, arguing that it was only for “African-American Experiences” and that it was not an universal play. In additional to that, in 1979 the play was restricted in a Utah school when it was criticized by an anti-pornography group, and in 2005, the play was also baned in an Illinois high school because principals argued that it is degrading to African Americans. Marylin Stasio, a critic from Variety Magazine, accentuates the importance of A Raisin in the Sun being the first play an African American woman to be produced on Broadway. The article further explains the play’s winning of the New York Drama Critics Circle’s award for best play, and how that also helps to bring attention to minorities.
    [Show full text]
  • A Raisin in the Sun
    2016-17 HOT Season for Young People Teacher Guidebook Nashville Repertory Theatre A Raisin in the Sun Sponsored by From our Season Sponsor For over 130 years Regions has been proud to be a part of the Middle Tennessee community, growing and thriving as our area has. From the opening of our doors on September 1, 1883, we have committed to this community and our customers. One area that we are strongly committed to is the education of our students. We are proud to support TPAC’s Humanities Outreach in Tennessee Program. What an important sponsorship this is – reaching over 25,000 students and teachers – some students would never see a performing arts production without this program. Regions continues to reinforce its commitment to the communities it serves and in addition to supporting programs such as HOT, we have close to 200 associates teaching financial literacy in classrooms this year. , for giving your students this wonderful opportunity. They will certainly enjoy Thankthe experience. you, Youteachers are creating memories of a lifetime, and Regions is proud to be able to help make this opportunity possible. Jim Schmitz 2016-17 Executive Vice President, Area Executive Middle Tennessee Area HOT Season for Young People WELCOME !N to the Arts 2016-2017 HOT Season for Young People Dear Teachers~ CONTENTS We are so pleased you will be attending Nashville Repertory The Playwright page 2 Theatre’s production of A Raisin in the Sun. Director René D. About the Play page 3 Copeland describes Lorraine Hansberry’s ground-breaking play as both specific and universal.
    [Show full text]
  • 4Dff9faeb1ae75919e4842a176a
    FRIEDMAN-ABELES the complete text of:-"a raisin in the sun"-by Lorraine Hansberry © Copyright, as an unpublished work, 1958, by Lor­ under the Copyright Laws of the United States of Amer­ raine Hansberry. ica, the British Empire, including the Dominion of Can­ ©Copyright, 1959, by Lorraine Hansberry. ada, and all other countries of the Universal Copyright Reprinted by permission of Random House, Inc. and Berne Conventions, is subject to royalty. All rights, All rights, including the right of reproduction in whole including professional, amateur, motion picture, recita­ or in part, in any form, are reserved under International tion, lecturing, public reading, radio and television and Pan-American Copyright Conventions. Published broadcasting, and the rights of translation into foreign in New York by Random House, Inc., and simultaneous­ languages, are strictly reserved. Particular emphasis is ly in Toronto, Canada, by Random House of Canada, laid on the question of readings, permission for which Limited. must be secured in writing. All inquiries should be ad­ Caution :-Professionals and amateurs are hereby dressed to the publisher, Random House, Inc., 457 lirarned that A Raisin in the Sun, being fully protected Madison Avenue, New York 22, New York. A Raisin in the Sun was first presented by P~ilip Rose and David J. Cogan at the Ethel Barrymore Theatre, New York City, March ll, 1959, with the following cast: • Ruth Younger Ruby Dee • Karl Lindner_ ________ _ ] ohn Fiedler • Travis Younger Glynn Turman • Bobo Lonne Elder III • Walter Lee Younger (Brother) ___ Sidney Poi tier • Movi~g Men _ ____ Ed Hall, Douglas Turner • Beneatha Younger Diana Sands • Lena Younger (Mama) Claudia McNeil • Directed by Lloyd Richards • Joseph Asagai Ivan Dixon • Designed and lighted by Ralph Alswang • George Murchison Louis Gossett • Costumes by Virginia Volland The action of the play is set in Chicago's Southside, sometime between World War II and the present.
    [Show full text]
  • Katherine Bauer Honors Project, 4 Th Semester Spring 2007
    The Stereotype Cycle and Special Interest Propaganda in Film and Theater Katherine Bauer Honors Project, 4 th Semester Spring 2007 Barbershop (2002) Filmography Rabbit Proof Fence (2002) Barbershop 2: Back in Business (2004) Of African American Interest Ray (2004) Check and Double Check (1930) Hotel Rwanda (2004) The Emperor Jones (1933) Crash (2004) Imitation of Life (1934) Diary of Mad Black Woman (2005) Song of Freedom (1936) Guess Who (2005) The Duke is Tops (1938) Madea’s Family Reunion (2006) Lying Lips (1939) Of Gay and Lesbian Interest The Blood of Jesus (1941) Queen Christina (1933) Stormy Weather (1943) Rope (1948) Cabin in the Sky (1943) Suddenly Last Summer (1959) Pinky (1949) A Taste of Honey (1961) Cry the Beloved Country (1951) The Children’s Hour (1961) Carmen Jones (1954) The Killing of Sister George (1968) Black Board Jungle (1955) Midnight Cowboy (1969) Island in the Sun (1957) Myra Breckenridge (1970) Imitation of Life (1959) A Very Natural Thing (1974) A Raisin in the Sun (1961) The Rocky Horror Picture Show (1975) Lilies of the Field (1963) Dog Day Afternoon (1975) Nothing But a Man (1964) Die Konsequenz (The Consequence) (1977) A Patch of Blue (1965) La Cage aux Folles (1978) Guess Whose Coming to Dinner (1967) Manhattan (1979) In the Heat of the Night (1967) Victor/Victoria (1982) Finian’s Rainbow (1968) Lianna (1983) The Learning Tree (1969) An Early Frost (1985) Watermelon Man (1970) Torch Song Trillogy (1988) Sweet Sweetback’s Baadasssss Song (1971) Paris is Burning (1991) Shaft (1971) Philadelphia (1993) Buck and the Preacher (1972) Mrs.
    [Show full text]
  • African-American Theater & the Deconstruction
    AFRICAN-AMERICAN THEATER & THE DECONSTRUCTION OF THE AMERICAN DREAM Marcela Iochem Valente1 Abstract: Lorraine Hansberry was an African-American playwright who used her plays as a way of protest against the injustice towards the African descendants in the USA and fought against the prejudice and discrimination faced by her people at that time. Her work was a site for many discussions that were very relevant to further movements such as the civil rights one. She showed in her work that al- though the USA was supposed to be the Land of Opportunity, the prosperity of this land as well as the ideals from the American Dream were not available the same way to all citizens, just to those who could fit the mainstream American stereotype. This article is going to show that Theater can be an important way of self-representation, a site for relevant discussions, and a way of subverting patri- archal discourses. Key words: African-American Theater, American Dream, the Land of Opportunity, deconstruction, Lorraine Hansberry. Resumo: Lorraine Hansberry foi uma escritora afro-americana que fez de suas peças uma forma de protesto contra as injustiças sofridas pelos descendentes a- fricanos nos EUA além de lutar contra o preconceito e a discriminação vividos por seu povo. Sua obra foi palco para diversas discussões de grande relevância para movimentos que vieram a ocorrer posteriormente como por exemplo o movimento pelos direitos humanos. Ela mostrou que embora os EUA fossem vis- tos com a terra das oportunidades, a prosperidade desse país, assim como os i- deais do Sonho Americano, não estavam disponíveis da mesma maneira para to- dos os cidadãos, mas apenas para aqueles que pudessem se enquadrar nos padrões tidos como americanos.
    [Show full text]