Native Son Study Guide: An Adaptation of Richard Wright's Novel, Study notes of Theatre

Download Native Son Study Guide: An Adaptation of Richard Wright's Novel and more Study notes Theatre in PDF only on Docsity! NATIVE SON adapted by NAMBI E. KELLEY based on the novel by RICHARD WRIGHT directed by SERET SCOTT Sept. 11 - Oct. 12, 2014 Co-produced with Sponsored by Photo of Jerod Haynes by joe mazza/brave lux, inc STUDY GUIDE Native Son adapted by Nambi E. Kelley based on the novel by Richard Wright SETTING Two cold and snowy winter days in December 1939 Chicago’s Blackbelt and surrounding areas CHARACTERS Bigger A 20 year old, African-American male from the South Side of Chicago. He has dreams of being a pilot but struggles with making that dream a reality as a result of his environment, race and economic circumstances. The Black Rat He is the visible representation of Bigger’s inner thoughts. Mary The rebellious, White daughter of Mr. and Mrs. Dalton. She desires to befriend Bigger while also maintaining her power and privilege over him. Jan Mary’s boyfriend, involved with the Communist Party. Hannah Bigger’s mother. Lost her husband, Bigger’s father, in a riot and now struggles to care and provide for Bigger and his siblings. Buddy Bigger’s younger brother. He looks up to Bigger and, resultantly, often helps Bigger with his schemes. Bessie Bigger’s girlfriend, a maid, who attempts to help Bigger while he is on the run from the police. Mr. Dalton Owner of the South Side Realty Company. He owns the apartments where Bigger and his family lives. Bigger eventually becomes the chauffer for Mr. Dalton’s household. Mrs. Dalton The blind wife of Mr. Dalton and Mary’s mother. Britten The private investigator the Dalton’s hire to find Mary. Vera Bigger’s younger sister. Gus Bigger’s friend. They have an antagonistic relationship with each other, at times, since Gus unconsciously makes Bigger aware of his insecurities and fears. Costume rendering by Melissa Torchia. 2 PLOT OF THE ADAPTATION OF NATIVE SON AND NON-LINEAR STORYTELLING The plot of this adaptation of the novel mainly focuses on the first two books of the novel Native Son: “Fear” and “Flight,” although it does incorporate some aspects of the third book, “Fate.” In addition, this adaptation is told in a non-linear manner. This means that although the story the play tells occurred linearly, the plot (the manner in which the playwright chooses to reveal the story) is not. The play takes place, mostly, in the head of Bigger Thomas. At the top of the play, Bigger finds himself remembering and reliving the series of events that lead to his not-in-his-head capture by the police. Starting with the murder of Mary Dalton, we see Bigger move backward and forward in time as events such as the loss of his father at young age, his beating by the police when they come to forcibly move his family out of their apartment, his broken dreams as he resigns himself to being the breadwinner for his mother and siblings, the job he must take in a wealthy family’s home, and an introduction to Mary and her communist boyfriend, Jan, all come together to create the perfect storm that leads to Bigger committing a murder. DOUBLE-CONSCIOUSNESS The term originated from an Atlantic Monthly article of Du Bois’s titled “Strivings of the Negro People.” It was later republished and slightly edited under the title “Of Our Spiritual Strivings” in his book, The Souls of Black Folk. Du Bois describes double consciousness as follows: “It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife—this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He does not wish to Africanize America, for America has too much to teach the world and Africa. He wouldn’t bleach his Negro blood in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American without being cursed and spit upon by his fellows, without having the doors of opportunity closed roughly in his face.” (http://en.wikipedia.org/wiki/Double_consciousness) ABOUT THE PLAYWRIGHT Nambi E. Kelley is the adaptor for this version of this classic novel. Kelley has penned plays for the Steppenwolf Theatre and the Goodman Theatre in Chicago, and the Lincoln Center in New York. Also an actress, Nambi has worked on stage and television in Chicago, New York, Los Angeles, and internationally, playing opposite such artists as Phylicia Rashad, Alfre Woodard, Blair Underwood, and Patrick Swayze.  Ms. Kelley has a BFA from The Theatre School at De Paul University, formerly known as The Goodman School of Drama, and holds an MFA in Interdisciplinary Arts from Goddard College in Vermont. Photo of Nambi E. Kelley by joe mazza/brave lux inc 5 AUDIO/VISUAL RESOURCES Here are links to videos Court Theatre created for the show. Please watch these before showing to your students. Some contain strong language. Fear: http://youtu.be/s25zMicbX6U Flight: http://youtu.be/fUGK_C7zmhU Fate: http://youtu.be/Ulumnk_ jPWM?list=UUdKTsw3BbGPu8jw6x7KKhoQ Link to a scene from the 1951 movie version of the book: http://youtu.be/ckBvNE0qc9Y Links to a 2-part video on the life of Richard Wright: http://youtu.be/ckBvNE0qc9Y http://youtu.be/rVBvKiEMmIQ ACTIVITIES Word Web: Teacher Prep: Write the names of each character found in the play on the whiteboard/blackboard. Students: They will need to each come up to the board and write a word that describes a character or their circumstances next to the character. They will also need to identify (through arrows) if more than one character is connected to the same word or circumstance. QUESTIONS 1. The Black Rat is a physical representation of Bigger’s inner thoughts. Do you think the Black Rat helps or hinders Bigger’s ability to make good decisions? Why? Do you ever find that you debate with yourself (either out loud or in your head) the consequences of decisions you are planning to make? 2. How would you describe the members of the Dalton household? Do you think they were innocent victims, that they had some hand in creating the circumstances that led to the murder, or both? 3. What is oppression? How do you see oppression in the story of Native Son? 4. What is Communism? Give specific examples of how Communism may be found in the story of Native Son? 5. As mentioned earlier, one of the major discussions/debates surrounding the novel (and adaptation) of Native Son is whether or not Bigger was a victim of fate or of his own free will. Keeping in mind some of the societal factors that affected Bigger’s youth and young adulthood – do you think he was a victim of fate or his own free will? Why? 6. What are some of the similarities and differences you see between the novel Native Son and the adaptation Native Son? 7. When the novel Native Son was first published, people both condemned and applauded the book’s representation of life for African Americans Do you think this story should be condemned or applauded? Why? 8. Do you see themes that tie this story (written in 1940) to events that are occurring right now? If so, what are those themes and how do you see them today? 6 NATIVE SON adapted by NAMBI E. KELLEY based on the novel by RICHARD WRIGHT directed by SERET SCOTT Sept. 11 - Oct. 12, 2014 Co-produced with Sponsored by Photo of Jerod Haynes by joe mazza/brave lux, inc STUDY GUIDE Native Son adapted by Nambi E. Kelley based on the novel by Richard Wright SETTING Two cold and snowy winter days in December 1939 Chicago’s Blackbelt and surrounding areas CHARACTERS Bigger A 20 year old, African-American male from the South Side of Chicago. He has dreams of being a pilot but struggles with making that dream a reality as a result of his environment, race and economic circumstances. The Black Rat He is the visible representation of Bigger’s inner thoughts. Mary The rebellious, White daughter of Mr. and Mrs. Dalton. She desires to befriend Bigger while also maintaining her power and privilege over him. Jan Mary’s boyfriend, involved with the Communist Party. Hannah Bigger’s mother. Lost her husband, Bigger’s father, in a riot and now struggles to care and provide for Bigger and his siblings. Buddy Bigger’s younger brother. He looks up to Bigger and, resultantly, often helps Bigger with his schemes. Bessie Bigger’s girlfriend, a maid, who attempts to help Bigger while he is on the run from the police. Mr. Dalton Owner of the South Side Realty Company. He owns the apartments where Bigger and his family lives. Bigger eventually becomes the chauffer for Mr. Dalton’s household. Mrs. Dalton The blind wife of Mr. Dalton and Mary’s mother. Britten The private investigator the Dalton’s hire to find Mary. Vera Bigger’s younger sister. Gus Bigger’s friend. They have an antagonistic relationship with each other, at times, since Gus unconsciously makes Bigger aware of his insecurities and fears. Costume rendering by Melissa Torchia. 2 PLOT OF THE ADAPTATION OF NATIVE SON AND NON-LINEAR STORYTELLING The plot of this adaptation of the novel mainly focuses on the first two books of the novel Native Son: “Fear” and “Flight,” although it does incorporate some aspects of the third book, “Fate.” In addition, this adaptation is told in a non-linear manner. This means that although the story the play tells occurred linearly, the plot (the manner in which the playwright chooses to reveal the story) is not. The play takes place, mostly, in the head of Bigger Thomas. At the top of the play, Bigger finds himself remembering and reliving the series of events that lead to his not-in-his-head capture by the police. Starting with the murder of Mary Dalton, we see Bigger move backward and forward in time as events such as the loss of his father at young age, his beating by the police when they come to forcibly move his family out of their apartment, his broken dreams as he resigns himself to being the breadwinner for his mother and siblings, the job he must take in a wealthy family’s home, and an introduction to Mary and her communist boyfriend, Jan, all come together to create the perfect storm that leads to Bigger committing a murder. DOUBLE-CONSCIOUSNESS The term originated from an Atlantic Monthly article of Du Bois’s titled “Strivings of the Negro People.” It was later republished and slightly edited under the title “Of Our Spiritual Strivings” in his book, The Souls of Black Folk. Du Bois describes double consciousness as follows: “It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife—this longing to attain self-conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He does not wish to Africanize America, for America has too much to teach the world and Africa. He wouldn’t bleach his Negro blood in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American without being cursed and spit upon by his fellows, without having the doors of opportunity closed roughly in his face.” (http://en.wikipedia.org/wiki/Double_consciousness) ABOUT THE PLAYWRIGHT Nambi E. Kelley is the adaptor for this version of this classic novel. Kelley has penned plays for the Steppenwolf Theatre and the Goodman Theatre in Chicago, and the Lincoln Center in New York. Also an actress, Nambi has worked on stage and television in Chicago, New York, Los Angeles, and internationally, playing opposite such artists as Phylicia Rashad, Alfre Woodard, Blair Underwood, and Patrick Swayze.  Ms. Kelley has a BFA from The Theatre School at De Paul University, formerly known as The Goodman School of Drama, and holds an MFA in Interdisciplinary Arts from Goddard College in Vermont. Photo of Nambi E. Kelley by joe mazza/brave lux inc 5 AUDIO/VISUAL RESOURCES Here are links to videos Court Theatre created for the show. Please watch these before showing to your students. Some contain strong language. Fear: http://youtu.be/s25zMicbX6U Flight: http://youtu.be/fUGK_C7zmhU Fate: http://youtu.be/Ulumnk_ jPWM?list=UUdKTsw3BbGPu8jw6x7KKhoQ Link to a scene from the 1951 movie version of the book: http://youtu.be/ckBvNE0qc9Y Links to a 2-part video on the life of Richard Wright: http://youtu.be/ckBvNE0qc9Y http://youtu.be/rVBvKiEMmIQ ACTIVITIES Word Web: Teacher Prep: Write the names of each character found in the play on the whiteboard/blackboard. Students: They will need to each come up to the board and write a word that describes a character or their circumstances next to the character. They will also need to identify (through arrows) if more than one character is connected to the same word or circumstance. QUESTIONS 1. The Black Rat is a physical representation of Bigger’s inner thoughts. Do you think the Black Rat helps or hinders Bigger’s ability to make good decisions? Why? Do you ever find that you debate with yourself (either out loud or in your head) the consequences of decisions you are planning to make? 2. How would you describe the members of the Dalton household? Do you think they were innocent victims, that they had some hand in creating the circumstances that led to the murder, or both? 3. What is oppression? How do you see oppression in the story of Native Son? 4. What is Communism? Give specific examples of how Communism may be found in the story of Native Son? 5. As mentioned earlier, one of the major discussions/debates surrounding the novel (and adaptation) of Native Son is whether or not Bigger was a victim of fate or of his own free will. Keeping in mind some of the societal factors that affected Bigger’s youth and young adulthood – do you think he was a victim of fate or his own free will? Why? 6. What are some of the similarities and differences you see between the novel Native Son and the adaptation Native Son? 7. When the novel Native Son was first published, people both condemned and applauded the book’s representation of life for African Americans Do you think this story should be condemned or applauded? Why? 8. Do you see themes that tie this story (written in 1940) to events that are occurring right now? If so, what are those themes and how do you see them today? 6 7 ADDITIONAL INFORMATION FOR TEACHERS Disclaimer for Teachers This adaptation of Native Son does not address every major action of the three books that comprise the novel Na- tive Son. You may choose to reveal this to your students. In addition, there are scenes in the play in which a stylized version of a rape occurs, moments of an intentional sexual encounter between Bigger and his girlfriend, as well as a sexual encounter between Bigger’s mother and father. There are also several violent fights that occur during the course of the play. Please use your discretion, and care, in articulating these occurrences to your students. Other Information: Here is an excerpt from Richard Wright’s article “How Bigger Was Born, which explains the genesis of Native Son. The birth of Bigger Thomas goes back to my childhood, and there was not just one Bigger, but many of them, more than I could count and more than you suspect. But let me start with the first Bigger, whom I shall call Bigger No. I. When I was a bareheaded, barefoot kid in Jackson, Mississippi, there was a boy who terrorized me and all of the boys I played with. If we were playing games, he would saunter up and snatch from us our balls, bats, spinning tops, and marbles. We would stand around pouting, sniffling, trying to keep back our tears, begging for our playthings. But Bigger would refuse. We never demanded that he give them back; we were afraid, and Bigger was bad. We had seen him clout boys when he was angry and we did not want to run that risk. We never recovered our toys unless we flattered him and made him feel that he was superior to us. Then, perhaps, if he felt like it, he condescended, threw them at us and then gave each of us a swift kick in the bargain, just to make us feel his utter contempt. That was the way Bigger No. I lived. His life was a continuous challenge to others. At all times he took his way, right or wrong, and those who contradicted him had him to fight. And never was he happier than when he had someone cornered and at his mercy; it seemed that the deepest meaning of his squalid life was in him at such times. I don’t know what the fate of Bigger No. I was. His swaggering personality is swallowed up somewhere in the amnesia of my childhood. But I suspect that his end was violent. Anyway, he left a marked impression upon me; maybe it was because I longed secretly to be like him and was afraid. I don’t know. If I had known only one Bigger I would not have written Native Son. Let me call the neat one Bigger No. 2; he was about seventeen and tougher than the first Bigger. Since I, too, had grown older, I was a little less afraid of him. And the hardness of this Bigger No. 2 was not directed toward me or the other Negroes, but toward the whites who ruled the South. He bought clothes and food on credit and would not pay for them. He lived in the dingy shacks of the white landlords and refused to pay rent. Of course, he had no money, but neither did we. We did without the necessities of life and starved ourselves, but he never would. When we asked him why he acted as he did, he would tell us (as though we were little children in a kindergarten) that the white folks had everything and he had nothing. Further, he would tell us that we were fools not to get what we wanted while we were alive in this world. We would listen and silently agree. We longed to believe and act as he did, but we were afraid. We were Southern Negroes and we were hungry and we wanted to live, but we were more willing to tighten our belts than risk conflict. Bigger No. 2 wanted to live and he did; he was in prison the last time I heard from him. There was Bigger No. 3, whom the white folks called a “bad nigger.” He carried his life in his hands in a literal fashion. I once worked as a ticket-taker in a Negro movie house (all movie houses in Dixie are Jim Crow; there are continued