Trifles The owner of the diner is waiting for his chance to go back south, and he knows that "they got two trains running every day". Wolf A numbers runner who sometimes uses the diner as his office. Risa The diner's waitress and cook. Holloway A regular who speaks out against the constant oppression of African Americans. Sterling Just released from jail, he needs to find a way to make a living. Hambone A man who stands up for what he believes he deserves. West The only wealthy man on stage owns the funeral home across the street. Two Trains Running, set in 1969, is August Wilson's most contemporary play to date. Like most of his plays, it unfolds in a single location--a diner in Pittsburgh. Memphis, the diner's owner, is struggling to get a fair price from the city which is buying up the entire eighborhood for purposes of urban renewal. Memphis' observation that the neighborhood has been emptied of its commercial and human activities gives an ironic and grim spin to urban renewal in particular and the progress of African Americans general. The play asks the question: In the midst of unemployment, death, and a white power structure allowing few alternative, where do you look for salvation. Do you turn to Christianity, as embodies in the wealthy but deceased Prophet Samuel, or do you return to an older African spirituality embodied by the impossibly aged Aunt Ester? Perhaps salvation lays with Malcolm X and the black power movement, or with Wolf and the numbers game of a white Mafia. A host of tragic figures inhabit the diner. Memphis' struggle with the city is essential to his fate of returning south to get back the land cruel taken from his by white men. Sterling--just out of prison--is stymied in his attempts to, by any means possible, support himself. Risa, the waitress, has scarred her legs in an attempt to escape the prison of physical beauty. Finally, perhaps a symbol of them all, is Hambone. Tens years ago he painted the grocer's fence, but was paid a chicken when he felt he had earned a ham. Every day for ten years he has confronted the grocer, requesting and demanding his ham, until by now the only phrases he utters are "I want my ham." and "He gonna give me my ham." August Wilson's 1992 play Two Trains Running is, in effect, a kinder, gentler version of Spike Lee's film Do the Right Thing. Both address racial tension between blacks and whites in the inner city and the violence that can accompany it, but in the play, these social ills are heard and not seen.
Reinhardt, Richard. Workin' on the Railroad; Reminiscences from the Age of Steam. Palo Alto, CA: American West Pub., 1970. Print.
Do The Right Thing was Spike Lee’s first landmark film. Do The Right Thing is a movie that brings awareness to the racial tensions when people in a Brooklyn neighborhood of different racial and cultural backgrounds coexist, which ends in a tragedy. The film was a great success receiving many of awards and earned two Academy Award nominations for Best Original Screenplay and Best Supporti...
Spike Lee is brand name when it comes to the film industry. When you try to ask any group of people their opinion about this man, you will probably receive numerous positive responses from the film community as well as the African American community. Do the Right Thing (Spike Lee, 1989) is a film that illustrates how racial conflict can become a reality while showing the repercussions that come with racial segregation. Spike Lee uses a number of tools to write and produce the film in order to ensure the message reaches his intended audience in the best way possible. The use of location, soundtrack, and dialogue is abundant in this film. Therefore, this film analysis paper is for Spike Lee’s Do the Right Thing (1989). It is a film in which racial segregation ignites riots in a neighborhood dominated by the black population. The heightened scene of this film analysis is where Spike Lee throws a trash can and it is from this that hell breaks loose and riots begin.
August Wilson has always made it clear through interviews and his works the significance behind his plays. “Wilson 's task, one shared by many black American writers, is a simultaneously reactive/reconstructive engagement with the representation of blacks and the representation of history by the dominant culture” (Morales 105). His main goal is to portray and promote black culture
The men in the subway cars make no effort to break through the barriers. They take no initiative to interact and stop the boys from the risky situation the put themselves in. The men seem to excuse themselves and the boys' actions by reminiscing their boyhood and all the brave adventures they had in their lives. Instead of ...
This story begins on a train specifically in a parlor car. This is where Jack Potter and his new bride are first introduced though his name is not yet given and hers never is. Crane chooses to tell about Potter in part one of the story so as not to give too much information at once, we do suspect? however that he will develop into the protagonist. The train is coming from San Antonio, where Potter and his bride were just married, and going to Yellow Sky, Texas. Eventually the setting changes as the couple moves to the dining car. Two rows of ?negro waiters? stand ready to assist and so the Potter?s are seated and presumably fed. The waiters in the dining ...
My initial inspiration for this piece was Trifles, which funnily enough only shares the characteristic of detectives being involved within the plot. As per suggestion on my proposal, I developed my idea of detectives solving a case further by including dialogue and inter-personnel relationships similar to those found in Glengarry Glen Ross. Taking the idea of different members of the real-estate office discussing work and plotting in Glengarry Glen Ross, and applying them to a trio of detectives on a case was interesting to say the least.
As Floyd is falling down on the stage, my heart is teared apart resonating with miserable life of African-American people in 1940s Pittsburgh. I have seen how people struggle with their assigned and unfair destiny and how the brutal reality smashes their dreams and humanity; I have seen that there were a group of people singing, dreaming, fighting, loving and dying in the red-brick house, which I might pass by everyday, all in this masterpiece of August Wilson. It is always difficult to reopen the grievous wound of the dark period during America history; however, the hurtfulness would be the most effective way forcing people to reflect the consequence of history.
His position in life can be regarded as symbolic of every black male struggling to provide for his family by any means necessary. Although Walter has a job, it seems inadequate for his survival. As a result, he has become frustrated and lacks good judgement. Throughout this play, Walter searches for the key ingredient that will make his life blissful. His frustrations stem from him not being able to act as a man and provide for his family and grasp hold of his ideals to watch them manifest into a positive situation.
I think this play is a lot about what does race mean, and to what extent do we perform race either onstage or in life:
A Streetcar Named Desire, written by Tennessee Williams, is a social realism play that takes place during the 1940’s in New Orleans. Williams uses this play to directly question inherent ideologies of human nature. He uses plot, narrative techniques, motifs, and contrasting values to directly challenge the reader’s perspective.
The play, set in the 1600’s during the witch hunt that sought to rid villages of presumed followers and bidders of the devil is a parallel story to the situation in the US in the 1950’s: McCarthyism, seeking the riddance of communist ideologists. Miller sets this story more particularly in a village called Salem, where the theocratic power governed by strict puritan rules require the people to be strong believers and forbid them to sin at risk of ending up in hell. However, the audience notices that despite this strong superficial belief in God, faith is not what truly motivates them, but it is rather money and reputation.
Susan Glaspell’s Trifles explores the unequal relationship between men and women in the early 20th century. How do you think the power relationship between the two genders was reversed at the end of the play? In the 20th century females were just meant to be at home, taking care of the house, making sure everything ran smooth. Women weren’t allowed to vote. They couldn’t go out alone. A women’s place was behind her husband and making sure he looked good, in every aspect. Weather it was political or not. The way they weren’t supposed to dress was extremely different, they weren’t allowed to go out showing skin. At the start of the play we see how the detective states that the house isn’t as clean as it should be. The jars in the kitchen
Racism is everywhere; it is all around us and at most times it resides within us. Racism basically refers to the characterization of people (ethnicity based) with certain distinct traits. It is a tool with which people use to distinguish themselves between each other, where some use it to purposely inflict verbal, physical or mental attacks on others while some use it to simply distinguish or differentiate from one another. It all depends on the context in which it is used. The play Fences by August Wilson, takes place during the late 1950’s through to 1965, a period of time when the fights against segregation are barely blossoming results. The main protagonist, Troy Maxson is an African American who works in the sanitation department; he is also a responsible man whose thwarted dreams make him prone to believing in self-created illusions. Wilson's most apparent intention in the play ‘Fences’, is to show how racial segregation creates social and economic gaps between African Americans and whites. Racism play a very influential role in Troy’s but more importantly it has been the force behind his actions that has seen him make biased and judgmental decisions for himself and his family. Lessons from the play intend to shed light on how racism can affect the mental and physical lives of Troy Maxson and his family.
Williams, Tennessee, and Elliott Martin. Browne. A Streetcar Named Desire. London: Penguin, 2009. Print. Modern Classics.