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Smith, Anna Deavere, Fires in the Mirror: Crown Heights, Brooklyn and Other Identities, Dramatists Play Service, 1993. As Professor Bernstein stresses, a "simple mirror is just a flat / reflecting / substance, " although "the notion of distortion also goes back into literature. " By Anna Deavere Smith. In its first scene "The Desert, " Ntozake Shange discusses identity in terms of feeling a part of, yet separate from, one's surroundings. Fri March 26-Sun April 25, 2021. A rapper from Los Angeles, Mo is a skilled poet and a socially conscious political thinker. The themes include elements of personal identity, differences in physical appearance, differences in race, and the feelings toward the riot incidents. On September 17, the day of the Jewish holiday Yom Kippur, after a Brooklyn grand jury refused to indict Yosef Lifsh, Al Sharpton flew to Israel to notify Lifsh of a civil suit against him. In "The Coup, " Roslyn Malamud contends that the blacks involved in the rioting were not her neighbors, and she blames the police department and the leaders of the black community for letting things get out of control. At the time of her scene in the play, she is a professor in the History of Consciousness Department at the University of California, Santa Cruz. These are in play intermittently, providing (silent) illustrations of the Crown Heights riot that was provoked when a reckless driver in... You have requested "on-the-fly" machine translation of selected content from our databases.
She adds that black people have nothing to do with their time, "so somebody says, 'Do you want to riot? There are several topics that "both sides" talk about referring to their "own culture. " Rain – Al Sharpton talks about trying to sue the driver who hit Gavin Cato, and complains about bias in the judicial system and the media. Close nevertheless seemed to share Witchel's weakness for Hollywood hunks, whinnying like a mare over Alec Baldwin (and perhaps inflaming feminists further by introducing Michael Douglas as "my fatal attraction"). In her play Fires in the Mirror, first produced in New York City in 1992, Smith distills these interviews into monologues by twenty-six different characters, each of whom provides an important and differing view on the situation in Crown Heights. Richard Green then speaks of the rage of black youths in Crown Heights and the lack of role models for black youths. Firehouse will continue its practice of contactless theatre, with severely limited seating capacity of a maximum of 10 audience members at each performance, as well as other safety protocols. No Blood in His Feet – Rabbi Joseph Spielman describes the riot events; he believes that blacks lied about the events surrounding the death of the boy Cato in order to start anti-Semitic riots. On August 19, 1991, a car driven by Grand Rebbe Schneerson's bodyguard, Yosef Lifsh, ran a red light, was hit by another car, and jumped a curb onto the sidewalk where Lifsh ran over a seven-year-old black child named Gavin Cato. Next, Rivkah Siegal discusses the common Lubavitch practice of wearing a wig. By displaying the many sides of the issue, she delves into the root causes of the situation in Crown Heights and she attempts to communicate what really occurred. His main role during the period of racial tension was to attempt to end the violence. This includes the most interesting works being produced in New York. He then flew to Israel personally to serve legal papers to Yosef Lifsh, the bodyguard who ran over Gavin Cato.
Proceedings against Lemrick Nelson Jr., accused of killing Yankel Rosenbaum, continued throughout the year and into the next fall, when he was acquitted of all charges. Green is the director of the Crown Heights Youth Collective and the codirector of a black-Hasidic basketball team that developed after the riots. Angela Davis: An Autobiography (1974) is Davis's compelling account of her early career as an activist, including her imprisonment between 1970 and 1972. She discusses who follows and copies whom in junior high school, making insights about the racial attitudes that develop during adolescence. Angela Davis, for example, stresses that race is a flexible and even arbitrary construction, in her scene "Rope. " For example, when the discussion of hair came up, it immediately was something that was tailored to show the struggle of many black people when it comes to their hair. Schneerson was the spiritual leader of the Orthodox Jewish community. Fires In The Mirror: Crown Heights, Brooklyn And Other Identities Fires In The Mirror: Crown Heights, Brooklyn And Other Identities. An African American man in his late teens or early twenties, the anonymous young man from the scene "Bad Boy" insists that young black men are either athletes, rappers, or robbers and killers, but not more than one of these things.
The anonymous girl of "Look in the Mirror" is a "Junior high school black girl of Haitian descent" who lives near Crown Heights. Smith absorbs the gestures, the tone of voice, the look, the intensity, the moment-by-moment details of a conversation. He does not acknowledge that it is difficult for a community of people to have respect for another community's unique needs unless they understand what these needs are. Discussing how Jews came to be scapegoats for the discrimination and oppression directed against blacks, Pogrebin points out that "Only Jews listen, / only Jews take Blacks seriously, / only Jews view Blacks as full human beings that you / should address / in their rage. " Identity is a definitive issue in Fires in the Mirror; it preoccupies characters, including the Reverend Al Sharpton, "Big Mo" Matthews, Rivkah Siegal, and several of the anonymous black and Lubavitcher men and women. In "Rain, " Reverend Al Sharpton discusses why he went to Israel to pursue legal action against the driver who killed Gavin Cato. Choose a well-known figure, such as Angela Davis, the Reverend Al Sharpton, or Letty Cottin Pogrebin, and research that person's real life and career. Well known Jewish American writer and founding editor of Ms. magazine, Letty Cottin Pogrebin appears in two scenes. Research Gavin Cato's death and the events that followed, as they were related in the press.
This section contains 299 words. An examination, therefore, of how Smith treats the concept of identity and how the characters understand their identities in relation to their own and other communities will reveal what lessons can be learned, in Smith's opinion, from the situation in Crown Heights. Norman Rosenbaum, the brother of the slain student, says, "My brother was killed in the streets of Crown Heights/for no other reason/than that he was a Jew. " These interviews were combined with others of well-known intellectuals and artists such Angela Davis, Ntozake Shange, and George C. Wolfe. "A very pretty Lubavitcher woman, with clear eyes and a direct gaze, " Rivkah Siegal is a graphic designer. The simile is apt in describing his grief and rage, not to mention the grief and rage expressed throughout the country in these inflamed times. As these events were unfolding, Anna Deavere Smith began a series of interviews with many of those involved in the conflict as well as those who were able to make key insights into its nature, its causes, and its results. Brustein, Robert, "Awards vs. 28–30. 48967, May 15, 1992, p. C1. The anger was fired by rumors that a Jewish ambulance wouldn't help the child and by charges that "they" never get arrested. The full title of Anna Deavere Smith's play is FIRES IN THE MIRROR: CROWN HEIGHTS, BROOKLYN AND OTHER IDENTITIES.
Smith implies that a central motif of the play, searching for an image of an individual's identity, is comparable to seeing in a mirror a burning flame that consumes any notion of the complex, interrelated, historically aware conception of what identity really is. Lousy Language – Robert Sherman explains that words like "bias" and "discrimination" are not specific enough, leading to poor communication. Perhaps the Tonys have gotten too predictable for sustained indignation. Look in the Mirror – An anonymous girl talks about how racial identity is extremely important in her school and the girls act, dress, and wear their hair according to the racial groups. Rabbi Spielman's one-sided explanation of the accident and the events that followed reveal that he is unable or unwilling to view the situation from the perspective of members of the black community. Static – An anonymous Lubavitcher woman tells a humorous story of getting a young black boy from the neighborhood to turn off their radio during the Sabbath because no one in their family was allowed to. Her acceptance speech credited Amnesty International with helping to foster a world community "where cruelty and abuse don't exist anymore"; she helped to foster some of her own with the zinger of the evening, a paraphrase of Herb Gardner to the effect that "there is life after Mr. and Mrs. Rich" (neither The New York Times critic nor his theater columnist wife, Alex Witchel, showed much appreciation for her performance). "When Art Meets Journalism, " in Time, Vol. Discuss why you think Smith has chosen to use words verbatim from her interviews, why she uses so many short scenes, why she has chosen to act as each of the characters herself, and why she places the monologues into poetic verse. As a solo performer, Smith also invokes discourses of performance theory and vinuosity, both of which have shaped her reception by academic and Modem Drama, 39 (r996) 609 610 JANELLE REINElT popular critics.
Rhythm and Poetry – Rapper Monique Matthews discusses the perception of rap and the attitude toward women in the hip-hop culture. Norman Rosenbaum gives a speech about the injustice of his brother's stabbing. Wearing a black fedora, black jacket, and reading glasses, he is interviewed in his home. At Gavin Cato's funeral in 1991, Sharpton spoke out against racism by Hasidic Jews and helped to mobilize large protests in Crown Heights. She wrote the play after the Crown Heights neighborhood erupted in three days of violent race riots in August, 1991.
… it does not exist in relationship to—/ it exists / it exists. " In 1970, she was placed on the FBI Most Wanted List and was imprisoned on homicide and kidnapping charges, of which she was acquitted in 1972. On the contrary, his scene seems to imply that racial identity is locked into a sense of self that is very much dependent on what self is not, or on what self perceives as the other or opposite of oneself. She explains the need for women in that culture to be more confident and not accept being viewed as sexual objects. Smith also includes pauses, breaks indicated by dashes, and nonsensical noises like "um" to capture a sense of character and real speech. Empathy is the ability to allow the other in, to feel what the other is feeling. When Smith performs her play, she acts in the role of each interviewee, embodying his/her voice and movements, and expressing his/her message and personality. Because of this doubling Smith's audiences—consciously perharps, unconsciously certainly—learn to "let the other in, " to accomplish in their own way what Smith so masterfully achieves.
Performance Schedule: Fri, March 26 @ 7:30pm. There are three sides to every story: yours, mine and the truth. This creative form of journalistic drama, which Smith developed herself, allows her as writer and actor to vividly express the people involved in the themes and events of her subject. Smith was born September 18, 1950, in Baltimore, Maryland. She appears slightly flustered by the religious restrictions that dictate what Hasidic Jews can and cannot do on Shabbas, but she laughs about the situation in which a black boy turns off their radio for them.
Smith attended Beaver College, outside of Philadelphia, from 1967 to 1971, and after graduating she became interested in the Black Power movement, moving to San Francisco, in part to participate in social and political agitation. The final section of the play begins with Rabbi Joseph Spielman, who gives his versions of the accident that killed Gavin Cato and of the stabbing of Yankel Rosenbaum, stressing that the black community lied about the events in order to start anti-Semitic riots. Community leaders such as Rabbi Shea Hecht insist that there should be no attempt for black and Jewish groups to understand each other, while Minister Conrad Mohammed argues that the Jews have stolen the identity of blacks and are "masquerading in our garment" by pretending to be God's chosen people. In the next scene, an anonymous Lubavitcher woman tells the story of a black child coming into her house on Shabbas, the Jewish holy day, to switch off their radio. Robert Brustein, for example, writes in his New Republic article "Awards vs.