![]() ![]() ![]() Parks manipulates spectator empathy and voyeurism in order to raise audience awareness of their complicity in acts of objectification. All three plays center upon the experiences of an African or African-American woman. Where she would have In the Blood precede Hawthorne’s novel,Parks models Fucking Aon existential Brechtian epic theatre. Both In the Blood and Fucking A draw inspiration from an American classic, Nathaniel Hawthorne’s The Scarlet Letter, but Parks skillfully manipulates their positioning within the traditional canon. It also adheres to an Aristotelian definition of form, and its hero, Hester La Negrita, is an archetypal tragic hero. Parks has formulated In the Blood as an example of Classical tragedy. The play’s structure compares with Homeric epics, particularly The Iliad, and the life of its hero, The Venus, embodies the pattern of the monomyth. Venus can be read as a Classical epic poem that adheres to an Aristotelian definition of epic form. Each play is modeled upon a traditional form because Parks would position them alongside canonical works of literature from the past. Suzan-Lori Parks consciously utilizes form and content to reconfigure perceptions of an androcentric white European Western literary canon in her plays Venus, In the Blood, and Fucking A. ![]()
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