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The idea of Imamu Amiri Baraka's plays shows that he is the most political activist of contemporary American playwrights. Most of Baraka's plays aim at the subversion of racial myth that has fashioned racism against the colored people, especially, the black people in American culture. In the tactics of subversion, Baraka uses the myths of Christianity, Islam, and ancient middle-east countries.
In Dutchman, a ritual play which centers around two characters on a subway, a black man, Clay and a white woman, Lula, Baraka relies on the myth of Christianity. Clay is identified with Adam, Christ, and Uncle Tom. Lula is Eve and is also associated with. a witch woman and manhunter. Clay and Lula are not the unique individuals but archetypal figures. As a white goddess of American racial myth, Lula is an image that is created in, and then gets out of Clay's consciousness. In a verbal game Clay becomes black warrior revealing his inner black consciousness. Lula destroys Clay because his rebellion threatens her by destroying the racial myth that is essential to her racial roles. Throughout the dramatic situation and the behavior of characters, Baraka implies that after the biblical fall contemporary Americans must cope with the consequences of a prior curse of slavery.
A Black Mass, another ritual play, is based on the religious myth, "Yacub's History," in the Black Muslim. In A Black Mass Baraka designs to extend a black consciousness into a mythological prehistory in order to take inversion of white racial myth. The play is very ironic for a magic in the play has been considered the evil connotation of black identity in white Christian culture. The evil in the play is caused by a black scientist, Jacoub, who creates the first white being, a creature that quickly turns out to be a monster.
Jacoub's scientific talent or idea belongs to that tradition of a narrow rationalism which Baraka repeatedly attacks in his plays. Jacoub represents the assimilationist to white culture that Baraka reiteratedly criticizes in most of his writings. The white monster represents Jacoub's moral bankruptcy and his racial self-betrayal. The monster is linked with Baraka's perception of time and history. Jacoub's invention involves the discovery of time. But as his colleagues, Nasafi and Tanzil, protest, time is merely a demon that destroys the eternity of prehistoric world. At this point Baraka's definition of magic, especially black magic(black mass), subverts the idea of rationalism of Western science. Also the magician, Nasafi and Tanzil are the true scientists. Magic represents knowledge as "an integrated and creative process."
Baraka protests against white racial myth using traditional mythic motif. His handling of myth reverses the ill-intended black images and stereotypes, and then overcomes white supremacy. However the myth of his play involves "a black nationalistic dogma," that is, the blacks are superior to the whites. So his plays always carry a certain kind of ideology, a counter-racism since they seem to hold together in the arena of politics.
In Dutchman, a ritual play which centers around two characters on a subway, a black man, Clay and a white woman, Lula, Baraka relies on the myth of Christianity. Clay is identified with Adam, Christ, and Uncle Tom. Lula is Eve and is also associated with. a witch woman and manhunter. Clay and Lula are not the unique individuals but archetypal figures. As a white goddess of American racial myth, Lula is an image that is created in, and then gets out of Clay's consciousness. In a verbal game Clay becomes black warrior revealing his inner black consciousness. Lula destroys Clay because his rebellion threatens her by destroying the racial myth that is essential to her racial roles. Throughout the dramatic situation and the behavior of characters, Baraka implies that after the biblical fall contemporary Americans must cope with the consequences of a prior curse of slavery.
A Black Mass, another ritual play, is based on the religious myth, "Yacub's History," in the Black Muslim. In A Black Mass Baraka designs to extend a black consciousness into a mythological prehistory in order to take inversion of white racial myth. The play is very ironic for a magic in the play has been considered the evil connotation of black identity in white Christian culture. The evil in the play is caused by a black scientist, Jacoub, who creates the first white being, a creature that quickly turns out to be a monster.
Jacoub's scientific talent or idea belongs to that tradition of a narrow rationalism which Baraka repeatedly attacks in his plays. Jacoub represents the assimilationist to white culture that Baraka reiteratedly criticizes in most of his writings. The white monster represents Jacoub's moral bankruptcy and his racial self-betrayal. The monster is linked with Baraka's perception of time and history. Jacoub's invention involves the discovery of time. But as his colleagues, Nasafi and Tanzil, protest, time is merely a demon that destroys the eternity of prehistoric world. At this point Baraka's definition of magic, especially black magic(black mass), subverts the idea of rationalism of Western science. Also the magician, Nasafi and Tanzil are the true scientists. Magic represents knowledge as "an integrated and creative process."
Baraka protests against white racial myth using traditional mythic motif. His handling of myth reverses the ill-intended black images and stereotypes, and then overcomes white supremacy. However the myth of his play involves "a black nationalistic dogma," that is, the blacks are superior to the whites. So his plays always carry a certain kind of ideology, a counter-racism since they seem to hold together in the arena of politics.
목차
Ⅰ. 서론
Ⅱ. 『더치맨』의 신화
Ⅲ. 『검은 미사』의 신화
Ⅳ. 결론
주
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