Engage in close reading as you normally would: Be aware of setting, track character development, consider important symbols, and note style, tone, and irony. Keep careful notes that reflect you thinking.
Comment on the stage directions in this play. How general or precise is the playwright? How do the directions enhance your understanding of the action? In what way(s) do they interfere with your own thinking about the action?
While reading the play the stage directions acted I suppose as they were meant to for my imagination, directions. They did not contribute hugely, I felt, to what I was picturing in my mind or how I read the play or understood it. Sometimes it even felt as though the stage directions were starting to get in the way and were either confusing me or slowing down the action in my mind. There were times when the stage directions helped to create a picture in my mind, for example, ("She tossed the phone to Walter, who barely catches it.)." But as far as my understanding went the stage directions did not contribute very much. For example when there were things as simple as "(at the phone)" or "(Pause, and a moment of recognition)." The small details such as those are necessary for a play, obviously, but this just goes to further show the impact writing has. In a novel I feel it wouldn't be necessary to say "(Pause, and a moment of recognition)" because that is something an author could imply depending on his syntax and word choice. Therefore although the stage directions were insightful and interesting to dive into the inner workings of a play the overall impact they had on me was hindering.
The stage directions in A Raisin in the Sun were very specific and deliberate. They left little for the reader to infer or create within their own head. Some of the stage directions were very descriptive in not only the action but the mood that was to be portrayed by the actor/actress; “He turns in outrage to leave. His mother watches after him as in his frustration he approaches the door almost comically. When she speaks to him, her voice has become a very gentle tease” pg 29. These directions enhance the understanding of the reader in a number of ways. First, the play is read in the manner in which the author intended. Second, most of the stage directions are descriptive and frequent enough to give accurate representation of how the characters are feeling and how they are acting. Finally, it leaves the reader with the substance of the play with the stage directions taking out the descriptive narrative that is apparent such as in a novel. These same aspects that enhance our understanding of the scene and the actions each one of the characters take also hinders the reader to delve deeper into the meaning of each of the actions a character takes. Such as in a novel, each one of the narrative parts gives insight into the broader picture of the nature and disposition of the character discussed. However, in this play the stage directions are substituted for the narrative pieces leaving out the inner monologues and rants of each individual character. This prevents the reader from fully understanding the true nature of the characters.
The stage directions serve an important role in the play, as they help to show the characters' behaviors and personalities through descriptions of their actions. Instead of relying solely on dialogue to characterize the family, detailed stage directions help show what a character wears, how they position themselves (ie. pridefully, sadly, etc), therefore, revealing much about the characters. In a sense, it allows the reader to gain insight as to who each person is before they speak.
Specific word choice in the playwright enhance the understanding of the action due to the level of detail. As Ruth and Travis interact in a tense situation, diction in the playwright provide key indications into the specific situation as well as characterization: "The boy obeys stiffly and crosses the room, almost mechanically, to the bed and more or less folds the bedding into a heap, then angrily gets his books and cap." Through this detail it is painfully obvious that the boy, Travis, is greatly reluctant to do what he is told. The words, "obey stiffly" indicates that he does so without willingness or pleasure. The phrase, "more of less" reveals his lack of care in the task, and the word, "angrily" provides insight into the emotional state of Travis. This all helps to provide accurate characterization of the family members, as well as feed the plot. Naturally, this has converse effects. Precise stage directions leave little room for creative interpretation, interfering with independent thinking which may otherwise vary from the described details.
The stage directions in A Raisin in the Sun were very specific and deliberate. They left little for the reader to infer or create within their own head. Some of the stage directions were very descriptive in not only the action but the mood that was to be portrayed by the actor/actress; “He turns in outrage to leave. His mother watches after him as in his frustration he approaches the door almost comically. When she speaks to him, her voice has become a very gentle tease” pg 29. These directions enhance the understanding of the reader in a number of ways. First, the play is read in the manner in which the author intended. Second, most of the stage directions are descriptive and frequent enough to give accurate representation of how the characters are feeling and how they are acting. Finally, it leaves the reader with the substance of the play with the stage directions taking out the descriptive narrative that is apparent such as in a novel. These same aspects that enhance our understanding of the scene and the actions each one of the characters take also hinders the reader to delve deeper into the meaning of each of the actions a character takes. Such as in a novel, each one of the narrative parts gives insight into the broader picture of the nature and disposition of the character discussed. However, in this play the stage directions are substituted for the narrative pieces leaving out the inner monologues and rants of each individual character. This prevents the reader from fully understanding the true nature of the characters.
Lorraine Hansberry is extremely specific with stage directions, including them in most lines of each character.
Stage directions play a crucial role in understanding both the imagery and tone of a play. When Mama is explaining to Ruth that she had planned to own a house but ended up staying in the apartment all her life, Hansberry writes "Ruth (keeps her head down, ironing) Yes, life can be a barrel of disappointments, sometimes" (45). This is a concrete example of how stage directions play an important role in understanding the imagery, tone, and ultimately the meaning of this part of the play. The stage directions in this line show both an interference in my own thinking and an enhancement in my understanding of the action. Had there been no stage directions, I would have envisioned her looking Mama straight in the eyes, extremely focused on their conversation. There would be no indication of the tone; I could have interpreted Ruth as being sarcastic and annoyed with Mama. Yet with specific stage directions, the image of the scene and the tone evoked are affected. Ruth is not engaged, but rather detached, focused on her task while merely contributing to Mama's lengthy story. The stage direction of "keeps her head down" contributes to Ruth's tone when speaking; she is focused on her task, head down, telling Mama that life can be disappointing sometimes. Ruth does not respond excitedly, and she responds while ironing, a stereotypical female task she was not meant to do all her life. With her head down and ironing, the reader knows that she means what she says; life is full of disappointments, such as the menial task she is forced to do every day of her life.
The reader is forced to create his/her own images from the text, but with stage directions, our scope of interpretation is narrowed; they make image, tone and meaning similar for every reader. Yet understanding is still enhanced, while the playwright's messages and intentions are clearer. Therefore, specific stage directions work to both enhance my understanding of the meaning of the play and undermine my own thinking about the play.
I agree with what Ty and Matt have said about how the stage direction in A Raisin in the Sun is very specific and detailed. There is very little left for the imagination when it comes to what is happening and what character is doing what. Matt commented on how the stage direction helps the reader understand the tone of the scene, and also helps give a more specific image to the reader of just what is happening. I agree that it totally does help with the tone, for example when Beneatha comes out and Asagai sees her new haircut for the first time, the stage direction says; Asagai-"laughing at her seriousness"….. "still laughing" Benetha-"Turning to him, not laughing"……."Her face is quizzical, profoundly disturbed"
Due to the stage direction it is very clear of the tension between this conversation and it basically spells out the awkwardness of the scene.
I do agree with what Nicole says about how the stage directions at some points are SO SPECIFIC that they almost are overbearing to the readers own imagination and interpretation. Most of the time the stage directions were useful and informative, but at times they became SO informative that they did interfere with how I was picturing the scene and my own understanding. I actually stopped reading them because they were so specific and messing up the picture I had in my own mind. An example of a stage direction that was helpful and meaningful to my understanding of the dynamics and tone of the scene is like at the beginning of Scene Two, "They both sit on the couch. He tries to kiss her. She moves away" between George and Benethea. This was simple and showed me that clearly she is annoyed.
An example of an overbearing stage direction is, "The boy finally turns around and rolls her eyes at her, knowing the mood has changed and he is vindicated; he does not, however, move towards her"... "She finally laughs aloud at him and holds out her arms to him and we see that it is a way between them, very old and practiced. He crosses to her and allows her to embrace him warmly but keeps his face fixed with masculine rigidity. She holds him back from her presently and looks at himi and runs her fingers over the features of his face. With utter gentleness". This example was between Ruth and her son Travis. I was displeased with the amount of details in this because it leaves absolutely nothing left for the reader to interoperate and understand on their own.
While reading the play the stage directions acted I suppose as they were meant to for my imagination, directions. They did not contribute hugely, I felt, to what I was picturing in my mind or how I read the play or understood it. Sometimes it even felt as though the stage directions were starting to get in the way and were either confusing me or slowing down the action in my mind. There were times when the stage directions helped to create a picture in my mind, for example, ("She tossed the phone to Walter, who barely catches it.)." But as far as my understanding went the stage directions did not contribute very much. For example when there were things as simple as "(at the phone)" or "(Pause, and a moment of recognition)." The small details such as those are necessary for a play, obviously, but this just goes to further show the impact writing has. In a novel I feel it wouldn't be necessary to say "(Pause, and a moment of recognition)" because that is something an author could imply depending on his syntax and word choice. Therefore although the stage directions were insightful and interesting to dive into the inner workings of a play the overall impact they had on me was hindering.
ReplyDeleteThe stage directions in A Raisin in the Sun were very specific and deliberate. They left little for the reader to infer or create within their own head. Some of the stage directions were very descriptive in not only the action but the mood that was to be portrayed by the actor/actress; “He turns in outrage to leave. His mother watches after him as in his frustration he approaches the door almost comically. When she speaks to him, her voice has become a very gentle tease” pg 29. These directions enhance the understanding of the reader in a number of ways. First, the play is read in the manner in which the author intended. Second, most of the stage directions are descriptive and frequent enough to give accurate representation of how the characters are feeling and how they are acting. Finally, it leaves the reader with the substance of the play with the stage directions taking out the descriptive narrative that is apparent such as in a novel.
ReplyDeleteThese same aspects that enhance our understanding of the scene and the actions each one of the characters take also hinders the reader to delve deeper into the meaning of each of the actions a character takes. Such as in a novel, each one of the narrative parts gives insight into the broader picture of the nature and disposition of the character discussed. However, in this play the stage directions are substituted for the narrative pieces leaving out the inner monologues and rants of each individual character. This prevents the reader from fully understanding the true nature of the characters.
The stage directions serve an important role in the play, as they help to show the characters' behaviors and personalities through descriptions of their actions. Instead of relying solely on dialogue to characterize the family, detailed stage directions help show what a character wears, how they position themselves (ie. pridefully, sadly, etc), therefore, revealing much about the characters. In a sense, it allows the reader to gain insight as to who each person is before they speak.
ReplyDeleteSpecific word choice in the playwright enhance the understanding of the action due to the level of detail. As Ruth and Travis interact in a tense situation, diction in the playwright provide key indications into the specific situation as well as characterization: "The boy obeys stiffly and crosses the room, almost mechanically, to the bed and more or less folds the bedding into a heap, then angrily gets his books and cap." Through this detail it is painfully obvious that the boy, Travis, is greatly reluctant to do what he is told. The words, "obey stiffly" indicates that he does so without willingness or pleasure. The phrase, "more of less" reveals his lack of care in the task, and the word, "angrily" provides insight into the emotional state of Travis. This all helps to provide accurate characterization of the family members, as well as feed the plot. Naturally, this has converse effects. Precise stage directions leave little room for creative interpretation, interfering with independent thinking which may otherwise vary from the described details.
The stage directions in A Raisin in the Sun were very specific and deliberate. They left little for the reader to infer or create within their own head. Some of the stage directions were very descriptive in not only the action but the mood that was to be portrayed by the actor/actress; “He turns in outrage to leave. His mother watches after him as in his frustration he approaches the door almost comically. When she speaks to him, her voice has become a very gentle tease” pg 29. These directions enhance the understanding of the reader in a number of ways. First, the play is read in the manner in which the author intended. Second, most of the stage directions are descriptive and frequent enough to give accurate representation of how the characters are feeling and how they are acting. Finally, it leaves the reader with the substance of the play with the stage directions taking out the descriptive narrative that is apparent such as in a novel.
ReplyDeleteThese same aspects that enhance our understanding of the scene and the actions each one of the characters take also hinders the reader to delve deeper into the meaning of each of the actions a character takes. Such as in a novel, each one of the narrative parts gives insight into the broader picture of the nature and disposition of the character discussed. However, in this play the stage directions are substituted for the narrative pieces leaving out the inner monologues and rants of each individual character. This prevents the reader from fully understanding the true nature of the characters.
Lorraine Hansberry is extremely specific with stage directions, including them in most lines of each character.
ReplyDeleteStage directions play a crucial role in understanding both the imagery and tone of a play. When Mama is explaining to Ruth that she had planned to own a house but ended up staying in the apartment all her life, Hansberry writes "Ruth (keeps her head down, ironing) Yes, life can be a barrel of disappointments, sometimes" (45). This is a concrete example of how stage directions play an important role in understanding the imagery, tone, and ultimately the meaning of this part of the play. The stage directions in this line show both an interference in my own thinking and an enhancement in my understanding of the action. Had there been no stage directions, I would have envisioned her looking Mama straight in the eyes, extremely focused on their conversation. There would be no indication of the tone; I could have interpreted Ruth as being sarcastic and annoyed with Mama. Yet with specific stage directions, the image of the scene and the tone evoked are affected. Ruth is not engaged, but rather detached, focused on her task while merely contributing to Mama's lengthy story. The stage direction of "keeps her head down" contributes to Ruth's tone when speaking; she is focused on her task, head down, telling Mama that life can be disappointing sometimes. Ruth does not respond excitedly, and she responds while ironing, a stereotypical female task she was not meant to do all her life. With her head down and ironing, the reader knows that she means what she says; life is full of disappointments, such as the menial task she is forced to do every day of her life.
The reader is forced to create his/her own images from the text, but with stage directions, our scope of interpretation is narrowed; they make image, tone and meaning similar for every reader. Yet understanding is still enhanced, while the playwright's messages and intentions are clearer. Therefore, specific stage directions work to both enhance my understanding of the meaning of the play and undermine my own thinking about the play.
I agree with what Ty and Matt have said about how the stage direction in A Raisin in the Sun is very specific and detailed. There is very little left for the imagination when it comes to what is happening and what character is doing what. Matt commented on how the stage direction helps the reader understand the tone of the scene, and also helps give a more specific image to the reader of just what is happening. I agree that it totally does help with the tone, for example when Beneatha comes out and Asagai sees her new haircut for the first time, the stage direction says;
ReplyDeleteAsagai-"laughing at her seriousness"….. "still laughing"
Benetha-"Turning to him, not laughing"……."Her face is quizzical, profoundly disturbed"
Due to the stage direction it is very clear of the tension between this conversation and it basically spells out the awkwardness of the scene.
I do agree with what Nicole says about how the stage directions at some points are SO SPECIFIC that they almost are overbearing to the readers own imagination and interpretation. Most of the time the stage directions were useful and informative, but at times they became SO informative that they did interfere with how I was picturing the scene and my own understanding. I actually stopped reading them because they were so specific and messing up the picture I had in my own mind. An example of a stage direction that was helpful and meaningful to my understanding of the dynamics and tone of the scene is like at the beginning of Scene Two, "They both sit on the couch. He tries to kiss her. She moves away" between George and Benethea. This was simple and showed me that clearly she is annoyed.
An example of an overbearing stage direction is, "The boy finally turns around and rolls her eyes at her, knowing the mood has changed and he is vindicated; he does not, however, move towards her"... "She finally laughs aloud at him and holds out her arms to him and we see that it is a way between them, very old and practiced. He crosses to her and allows her to embrace him warmly but keeps his face fixed with masculine rigidity. She holds him back from her presently and looks at himi and runs her fingers over the features of his face. With utter gentleness". This example was between Ruth and her son Travis. I was displeased with the amount of details in this because it leaves absolutely nothing left for the reader to interoperate and understand on their own.