The play's title evokes images of Dutch ships that carried slaves across the Atlantic.

Clay launches into a monologue. Copyright © 1999 - 2020 GradeSaver LLC. The characters engage in a long, flirtatious conversation throughout the train ride. Lula, however, wants Clay to be even more aggressive; seeing that he doesn’t seem to be taking the bait, she grows angry. She then commands the other passengers to throw his corpse out at the next stop. She derides his being black and passive.

"Dutchman and The Slave Summary". He then orders her to leave him be. A young Negro (Al Freeman Jr.) is riding alone. The action focuses almost exclusively on Lula, a white woman, and Clay, a black man, who both ride the subway in New York City.

Set on a New York subway train, Dutchman examines the brief, but fatal, relationship between Clay--a well-dressed, intellectual, young African American man--and Lula, an older, flirtatious, white woman. The audience finds Clay, sitting alone reading a magazine, seemingly oblivious to the presence of the woman sitting down the seat next to him eating an apple.

The audience finds Clay, sitting alone reading a magazine, seemingly oblivious to the presence of the woman sitting down the seat next to him eating an apple. Her constant baiting gets his notice. [1] was made into a film in 1967, starring Shirley Knight and Al Freeman Jr. Dutchman was the last play produced by Baraka under his birth name, LeRoi Jones. The scene opens up with the pair in a New York subway. Lula is angered by Clay's not falling for her manipulative tactics. Clay states that if black people stopped trying to heal their pain through dance, music, civic participation, religion, or focusing on moving upwards in American society, and became coldly rational like white people, black people would just kill all the whites and be done with racism in America. Walker leaves the house amid the explosions. A massive explosion rocks the house and Grace is badly hurt. She directs all the other passengers, blacks and whites, in the train car to throw his body out and get out at the next stop. Other riders begin to populate the car where once it was empty. The carriage of a subway train, New York City, 1960s, College/University, Professional Theatre, Regional Theatre, Small Cast, Amiri Baraka (formerly known as LeRoi Jones), Gluten Free Gay Murder Mysteries" - Radio Play. He rants, asserting that white people still maintain distinctions of culture, happily allowing black artists to perform “black dances” and produce “black music” but not the other way around.

A sexy blond (Shirley Knight) boards the train and begins to make painfully rude advances to the Negro. Not affiliated with Harvard College.

She teasingly places her hand on his leg and suggestively slices her apple, feeding him the portions.

When he does, Walker bests him, pulls out his gun, and shoots him dead.

Clay now begins a soliloquy, telling the audience of the challenges that a black person must go through.

She dances mockingly in an R&B style and tells Clay to join her and "do the nasty. It is also symbolic of integrationist and assimilationist ideologies within the contemporary Civil Rights Movement. The play focuses on Clay, a 20-year-old African-American man wearing a suit and tie, and Lula, a 30-year-old white woman, who meet on a subway train in New York City during the summer. She seems to be aware of his insecurities and challenges Clay to pretend “that you are free of your own history.”. Clay is gladdened by Lula's apparent liking for him and maintains a hopeful attitude to having sex together.

Dutchman is a play written by African-American playwright Amiri Baraka, then known as LeRoi Jones.
All the while, Lula listens, seemingly uninterested. Sign up today to unlock amazing theatre resources and opportunities. Generally, the underlying theme of the work is considered to be racial injustice. Rub bellies". At the time, he was in the process of divorcing his Jewish wife, Hettie Jones, and embracing Black Nationalism [2], The play was revived in 2007 at the Cherry Lane Theatre starring Dulé Hill, and in 2013 was restaged by Rashid Johnson at the Russian and Turkish Baths in the East Village.[3]. The papers were written primarily by students and provide critical analysis of the plays Dutchman and The Slave.

Although he is receptive to Lula’s provocations, he does not initiate any direct propositioning for sex.

New York, NY, Twelve Angry Men

The scene opens up with the pair in a New York subway. She also begs him not to take the girls.

Having correctly guessed his destination, she compels Clay to take her along, suggesting that she’d be willing to sleep with him afterward if she were invited. The black music and African American culture with which Lula has been stereotyping him are, he believes, repressions of a justified rage that has kept African American people from fighting back and killing white Americans.

He says he would rather choose to pretend to be ignorant of racism, not try to get rid of it by fighting with whites.

Clay says that if he were to take Lula's words to heart, he should just kill all the white people he meets. Nearly all of the conflict and interactions in the play happen between the two main characters, Lula, a white woman, and Clay, a black man.

But, before he can, Lula unexpectedly stabs Clay to death and orders the other passengers to throw his body off the train. As Walker grows drunker, he becomes more morose. Clay is just minding his own business, when a woman sits down next to him, accuses him of looking at her ass and legs, guesses his past, and makes other accusations against him based on race.

Clay suggests that whites let black people dance "black" dances and make "black" music. The action takes place entirely within a subway car. Dutchman may be described as a political allegory depicting black and white relations during the time Baraka wrote it.
Furthermore, Lula is one the greatest liars that I …


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