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Toward New Kinds of Truths: Staging Toni Morrison with “The Homophonic Trinity”
Ist Teil von
College literature, 2020-09, Vol.47 (4), p.664-670
Ort / Verlag
West Chester: Johns Hopkins University Press
Erscheinungsjahr
2020
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
What can one do to give the interior life of her texts an exterior life in public performance? [...]if one embraces the understanding that fiction is not random, what are potential tools, strategies, and approaches one may consult or adopt when charged with the dramaturgical challenge of adapting prose with meaningful intention? [...]she imbues memory, both individual and collective, with reference-worthy authority and significance; memories are citational, recollections are what she cites. [...]after journeying via her imagination, she beholds a sight born from her “reliance on the image—on the remains—in addition to recollection” that not only gifts her a sense of place and space, but also bestows upon her a “‘picture’ and the feelings that accompany that picture” (92). [...]what I am proposing through the tracing of cite, site, and sight in Morrison’s reflections is that Morrison’s process conjures what I refer to as the “Homophonic Trinity” (homophonic as in “homophones”—words with the same sound, but different meanings and spellings). While my concept of the Homophonic Trinity was not a factor in Diamond’s exemplary adaptation of The Bluest Eye (rather, Diamond’s script, in tandem with Morrison’s words, serve as sources of inspiration for this dramaturgical construct), an examination of Diamond’s stage play reveals a fascinating correspondence between what I am identifying as creative touchstones and some of the adaptation’s most effective theatrical strategies. [...]Dick and Jane’s inclusion should be an expected element for any stage adaptation, but it is especially paradigmatic if creating with the Homophonic Trinity (and starting with the constituent of “cite”) in mind.