The play, The Brothers size, is a sensational play running play that is written in a contemporary African setting. It involves two brothers all who have differing interests, and each tries to pursue his own dream but at last come together. The play is a reality show that brings out much imagination among its viewers. In what is seen as super creativity the play immerses is viewers into a sea of imaginations leaving emotions chilling through their spines until the curtains fall.
Anyone watching the scenes of this artistic work would never want to miss on any of Tarell Alvin MCcraney’s productions. The play looks into the contemporary life of the black men and many would not believe that this is the work of any typical white man. The sensation associated with this play is tantamount to the suspense and the waves of the numinous reality dispensed in this play. The play insinuates what countries that have freshly acquired freedom go through and he steps they need to undertake for their survival and total liberation. It uses simulated characters that clearly represent the parties directly and indirectly affected by the central conflict of the play.
The play uses the representational type of acting. Throughout the entire 100 minutes, the audience is regularly ignored by the three black men. They are busy acting trying to bring out clearly and effectively the themes as stipulated by the playwright. The three black men deviate from the reality of the theatre and maintain an absolute autonomy of the dramatic fiction as well as behaving like another wall is separating them and the crowd (Hagen 23).
While playing all the scenes, the three men assume the absence of the audience to bring out their best at the time of performing. Any sounds from the audience are completely ignored by the actors who are totally sunk in their acting role at the time of the theatre performance. The actors portray a finished form of their rehearsals to bring out the best art of representation (Hagen, 25). In this play, the actors demonstrate how well they understand and can take up their roles in presence and absence of the audience. Their representational role is well portrayed when the three do not face the audience when acting scenes that require attention of a third party. The art of representation demonstrated in this play is of high quality and goes beyond the expectation of everybody over and above including the director of this play and the playwright in addition to the role players.
The central conflict of The Brothers Size is elusive possibility of freedom as instigated by the ideological differences between the two brothers. Ogun, one of the brothers, is a hardlined man who is very hard working and believes in passing through the hard path for success. He has started an auto repair shop and uses it for his own survival. Being the older brother in the setting, he puts his live under unbearable rigid force. The younger brother who has just been out of prison is a lazy man who is mostly concerned with his own freedom and nothing else. He has just had his first taste of freedom and is not keen to take care of it nor is he keen to protect his newly acquired liberation according to the natural law. He wishes to buy an expensive car and drive to Madagascar yet he does not work to achieve that. He characterizes Africa that suffers racist injustice and is struggling to break away from the limits of the injustice.
The difference in the character of these two brothers is the source of tension in this play. One is advocating for survival and protection while the other, wallowing in laziness, doesn’t put into accounting his survival even after his freedom from prison. The two brothers have a different attitude towards life bringing out the writer’s central conflict. In his writing, the author is trying to insinuate the black’s indifference towards the mystic reality of life and general livelihood.
The acting of The Brothers Size is purely representational. No mix of presentational and representational acting has been used in this acting. The director of acting in this play chose to adapt to representationally acting only to bring out clearly and intensively the themes in this play. In what is seen as one of the best presentations ever under the roof of this theater the play entirely ignores the presence of the audience.
In contrast to the setting of this movie that involves s many conflicting scenes hat seek a third party’s attention. However, the playwright absorbs the audience through creation of a third character, Elegba. He is the one who provides the attention required for the conflicting scenes of this play. A the end of the play he reconciles the two brothers proving that he is there to provide in substitute what the audience could have offered. In return of good will, this third character assures the director that the play entirely assumes representational acting.
The stage dressing is quite conspicuous and stands out clearly to portray the central conflict of the play. Dressed as typical African, Oshoosi tries to run away from the reality of real life. He represents the greater population of Africa and its entire behavioral characteristics. His brother also represents the other segment of Africa that is enlightened and tries to work hard to sustain and protect its freedom. The stage dressing purely fits the setting of the play. The third is over and above dressed as an external upper hand trying to reconcile the two groups of differing African groups who are about to destroy their liberation. The stage dressing is quite memorable because the regalia explicitly and intensively postulate whatever it was supposed to bring out.
This piece of artistic work is a very creative work that could be of great hype to any organization or institution that produced it. The Department of Theatre in the University of Illinois would wish to produce The Brothers Size because it covers one of the most critical issues affecting the liberation of the developing world. The university would gain recognition for its effort in identifying the problems affecting the freedom of the third world countries. While some of the third world countries are trying to protect their freedom and seek, survival others are busy pulling their legs away from the struggle of the sustenance and support of this freedom.
More so this piece of artistic work would be vital in training of students on how to be creative. It would also teach a student on how to create representational types of theatrical works. Production of this work would also add theatrical skills to the students. This production educated the public about the undertakings in maintenance of liberation in the developing and freshly liberated world. In as much as, they enjoy the freedom this world is playing a very feeble role in ensuring their survival and protection of the liberation they are currently enjoying.
For survival and protection of his newly acquired freedom, the developing world should look at what established nations are doing for their existence and at the same time follow up their ideologies. They should not conflict with the established economies but should seek advice for survival and protection of their freedom. To a large extent they should use partially established economies to seek the support of the established countries just like Elegba is used to reconcile the two brothers.
Most interesting in this production was the use of representational acting. This type of acting provides the role players to bring out their best while acting out the scenes. This art of representation allows an actor well to demonstrate how well he is conversant with his roe. It also allows them not to be carried away by the audience distracting them from what they are supposed to do in the stage.
In addition, this type of acting is essential in allowing the audience concentrates in what is being postulated thematically on sage other than concentrate on personal aspects of the actors. More important is that this type of acting brings out the best polishing of the production. It clearly reveals all the details of the script in an effort to communicate its intent most effectively to an audience (Hagen 55).
Hagen, U. Respect for Acting. New York: Macmillan. (1973). Print.