Analyzation of ARITS
FYS-the Family Drama
Evan Mowry

ARITS is not unique but special among plays in that it requires, as in the scene we watched, a certain over-the-top-ness in the acting of it, while retaining the willing suspension of disbelief that is critical to the performance of drama. Because the scenes we viewed dealt very little with the ordinary feelings of the characters, and more the extraordinary heights and depths of them, the cast had to be crazy-sad, crazy-happy, crazy-angry, and all the in-betweens without appearing crazy-crazy.
Beneathe was not acted overly well, but she was not acted poorly, either. She is not the integral character in the scene, and doesn't need to be perfect for it to flow well, but I thought that some of her actions had more to do with stage direction than the character. When Walter lay sobbing on the ground and his mother was interrogating him, Beneathe hung back with Ruth; not clutching her or hiding behind her or anything, just sort of standing in line with her. Given her outburst when Walter had confirmed the loss of her tuition money, I would have figured either a more "cracking" stoic persona would have fit her better, or at least hysteria. She seemed undevoted in her emotional direction, and that doesn't jibe well with previous indicators of her character.
The cameras were not centered on Ruth (or any other character, a feature I found particularly annoying) at any critical juncture in the play. While I think she acted her part well, I can't really determine if she did what I would think Ruth would do at any given time. She was, it seemed, too outwardly happy at the beginning of the scene; when she was talking with Beneathe I expected more of a glow from her.
Walther was the center of attention whenever he was in the room, which I found interesting. Even when Mama came home Beneathe and Ruth took their cues from Walther; they kept looking at him for confirmation of whether something was funny, whereas he hardly looked at them at all. I thought Danny Glover acted him really well, though. For some reason, much of the emotion in this performance seemed a little flat, and I only noticed it when Walther was gibbering on the floor, but now I'm thinking that it might be a personal reaction on my part to kind of cushion the let-down (because I know it's coming). As an audience member, I can predict (or know, in this case) what's going to happen next, and prepare myself for it.
Mama, I thought, was the best actor of them all. She was a very reserved, playful, vengeful woman, and I thought her body movements and facial expressions; even her voice, expressed the character wonderfully. I always imagined Mama as a large, buxom black woman, and the contrast between what I expected and what was delivered gave her that much more import.
Lindner, also, did a wonderful job acting his character. He was constantly confused when they kept interrupting him with snide questions once they had figured out what he had come for, but he picked right back up where he left off really well. He started to get a little defensive and outspoken right when I expected him to, but always stayed pleading without being whiny. I like that character a lot, now that I've seen him acted out, whereas when I had just read his lines I really disliked him; he seemed skinny and be-spectacled and generally a rat, before.
All in all, I thought the scene was powerful but not subtle. It did not make me feel what the characters were feeling, it made me want to get away from them. That seems a poor note to leave on in an analyzation, but it adequately states my feelings about the play; it had intensity, but it cracked my shield of willing disbelief in enough parts to ruin it for me.

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Black Power
FYS-the Family Drama
Evan Mowry

The Black Power movement began in the 1960s. The movement was catalyzed by the fiery rhetoric of Malcolm X, Stokely Carmicheal, and Robert Williams, and began as an expression of the rage many blacks felt at oppression of their rights by the white population.
Although it was a widely-arrayed movement, with support from all the classes and many ethnic groups in the United States, there was little focus. Many groups, such as the Student non-Violent Coordinating Committee and the Black Panthers, began as loci of the movement, but ended up disagreeing on the finer points of the struggle.
In the mid-1960s, the Black Panther party was founded by Bobby Seale and Huey Newton. The Black Panthers began as a militant, urban defense of black neighborhoods, and encouraged young blacks to arm themselves in defense of their rights and way of life. They became increasingly racist, seperatist, and anti-white until the FBI cracked down on them in the '70s. The group disbanded and many of the more radical members fled to places like Cuba or China.
The black power movement started a host of reforms that still affect our society today. Many different political shifts started as a result of it, such as the Red Power movement and the Black Arts movement.

Black Panther Party Platform and Program
What We Want
What We Believe
1. We want freedom. We want power to determine the destiny of our Black Community.
We believe that black people will not be free until we are able to determine our destiny.
2. We want full employment for our people.
We believe that the federal government is responsible and obligated to give every man employment or a guaranteed income. We believe that if the white American businessmen will not give full employment, then the means of production should be taken from the businessmen and placed in the community so that the people of the community can organize and employ all of its people and give a high standard of living.
3. We want an end to the robbery by the white man of our Black Community.
We believe that this racist government has robbed us and now we are demanding the overdue debt of forty acres and two mules. Forty acres and two mules was promised 100 years ago as restitution for slave labor and mass murder of black people. We will accept the payment as currency which will be distributed to our many communities. The Germans are now aiding the Jews in Israel for the genocide of the Jewish people. The Germans murdered six million Jews. The American racist has taken part in the slaughter of over twenty million black people; therefore, we feel that this is a modest demand that we make.
4. We want decent housing, fit for shelter of human beings.
We believe that if the white landlords will not give decent housing to our black community, then the housing and the land should be made into cooperatives so that our community, with government aid, can build and make decent housing for its people.
5. We want education for our people that exposes the true nature of this decadent American society. We want education that teaches us our true history and our role in the present-day society.
We believe in an educational system that will give to our people a knowledge of self. If a man does not have knowledge of himself and his position in society and the world, then he has little chance to relate to anything else.
6. We want all black men to be exempt from military service.
We believe that Black people should not be forced to fight in the military service to defend a racist government that does not protect us. We will not fight and kill other people of color in the world who, like black people, are being victimized by the white racist government of America. We will protect ourselves from the force and violence of the racist police and the racist military, by whatever means necessary.
7. We want an immediate end to police brutality and murder of black people.
We believe we can end police brutality in our black community by organizing black self-defense groups that are dedicated to defending our black community from racist police oppression and brutality. The Second Amendment to the Constitution of the United States gives a right to bear arms. We therefore believe that all black people should arm themselves for self defense.
8. We want freedom for all black men held in federal, state, county and city prisons and jails.
We believe that all black people should be released from the many jails and prisons because they have not received a fair and impartial trial.
9. We want all black people when brought to trial to be tried in court by a jury of their peer group or people from their black communities, as defined by the Constitution of the United States.
We believe that the courts should follow the United States Constitution so that black people will receive fair trials. The 14th Amendment of the U.S. Constitution gives a man a right to be tried by his peer group. A peer is a person from a similar economic, social, religious, geographical, environmental, historical and racial background. To do this the court will be forced to select a jury from the black community from which the black defendant came. We have been, and are being tried by all-white juries that have no understanding of the "average reasoning man" of the black community.
10. We want land, bread, housing, education, clothing, justice and peace. And as our major political objective, a United Nations-supervised plebiscite to be held throughout the black colony in which only black colonial subjects will be allowed to participate for the purpose of determining the will of black people as to their national destiny.
When in the course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume, among the powers of the earth, the separate and equal station to which the laws of nature and nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.
We hold these truths to be self evident, that all men are created equal; that they are endowed by their Creator with certain unalienable rights; that among these are life, liberty, and the pursuit of happiness. That, to secure these rights, governments are instituted among men, deriving their just powers from the consent of the governed; that, whenever any form of government becomes destructive of these ends, it is the right of the people to alter or to abolish it, and to institute a new government, laying its foundation on such principles, and organizing its powers in such form, as to them shall seem most likely to effect their safety and happiness.
Prudence, indeed, will dictate that governments long established should not be changed for light and transient causes; and accordingly, all experience hath shown, that mankind are more disposed to supper, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But, when a long train of abuses and usurpations, pursuing invariable the same object, evinces a design to reduce them under absolute despotism, it is their right, it is their duty, to throw off such government, and to provide new guards for their future security.

STREET LAMP

Evan Mowry
Script Assignment
Intro. to Theater

STREET LAMP

(STREET LAMP takes place seven years from A RAISIN IN THE SUN. The Youngers have stayed in the house they bought, and are happy, but still quite poor. TRAVIS, just about to begin his senior year, is beginning to think of college, and has shown an interest in math throughout his years of growing up. He's walking with a girl, TANYA, on a summer evening; they are good friends and have a closer relationship than most, but their families would make it hard, as TANYA is white, and neither one is willing to take the initiative.)

TANYA:
But there's always the community college.

TRAVIS:
Yeah, but...You know. I should help out around the house. My grandma just stopped working and it's hard to pay for things as it is much less college.

TANYA:
(She sounds exasperated; they've been through this before, it seems.) So? Get a loan, financial aid, a JOB. You're never going to get out unless you try.

TRAVIS:
I know, I know...I just feel so...trapped?


TANYA:
I don't know, do you?

TRAVIS:
(He rolls his eyes.) It wasn't a question.

TANYA:
Why? You have everywhere to go, Travis. You're smart, you're driven, and you're compassionate. Why should you have to cage yourself in some minimum wage job so you can stay precisely where you are?

TRAVIS:
(Travis stops walking and starts yelling, gesturing expansively while he does so.) Well, for one thing this is where my family is! Don't you think I owe them something for all this?

TANYA:
All...this?

TRAVIS:
That house, my school, this...this walk. Everything. We moved here, and all of a sudden, I have a future.

TANYA:
So don't waste it.

TRAVIS:
(He sounds put-upon and sullen, and turns away from TANYA slightly.) I'm not.

TANYA:
You don't owe them anything that you don't already give. The whole reason they moved here is for you.

TRAVIS:
What do you know about reasons? What reasons have you had in your life? You go to school because your parents want you to. You're going to college because your parents want you to, you...why? What don't you do that your parents tell you to do? What do you do that isn't done by every little white chick in every suburb in America that's never had to worry about anything? What reasons have you got to do anything!

(Both are quiet for a second. TRAVIS holds his arm up pointing down the street in the direction of TANYA's house and then, with a shiver drops it. TANYA looks up at him, finally, and cuts him off from his apology.)

TANYA:
My parents don't want me talking with you. You, apparently, don't want me to talk to you. (She puts a special emphasis on the "whys") WHY did I come with you, tonight? WHY do I talk about these things with you? WHY do I put up with this...this SHIT?

(There is another long, long pause. TRAVIS looks wretched.)

TANYA:
There's a reason, Travis; one reason, and if you ask "why" right now I'll slap you in the face and say because I'm stupid. (TANYA walks off quickly, leaving TRAVIS to think.)

Evan Mowry
Intro. to Philosophy-Written Assignment
9/14

Accompanying Questions:

a: deductive
b: inductive
c: deductive

d: valid, and sound
if p, then q
p is true
q must be true

e: valid, and sound
if p, then q
p is true
q must be true

f: invalid, and sound
if p, then q
q is true
p must be true

g: valid, and sound
if p, then q
not q
then, not p.

h: valid, and sound
if p, then q
not q
then, not p

i: invalid, and sound
if p, then q
not p
then, not q

Hypothetical Syllogisms

If I am 18, I am an adult. (true)
If I am an adult, I can drink alchohol. (false)
If I am 18, I can drink alchohol. (false: invalid and unsound)

If you can swim above water, you can breathe.(true)
If you breathe, you will not drown.(true)
If you can swim above water, you will not drown. (false: invalid and sound)

Further questions to accompany the writing assignment

1a) If a person likes philosophy, then they must be a philosopher.
1b) Philosophers understand philosophy. Marty does not understand philosophy. Therefore, Marty is not a philosopher. The argument is that just because a person finds enjoyment in something, does not mean they understand what is going on.
1c) Yes, obviously. It is a valid, sound argument that refutes the previous definition of a philosopher (as Marty cannot be both a philosopher and not a philosopher at the same time).

2a) Yes, the argument is valid. It is a hypothetical syllogism, and is (hyopthetically) true. I am unsure of the make of our textbooks, and whether all Lemke's 1201 classes use the same textbook.

3a) If I am not wholly spiritual, then I am wholly physical. (P iff Q)
3b) The argument is not sound. The created conditional (3a) is untrue. One may be physical and spiritual at the same time. To make it a sound argument, "wholly" must be edited out of the antecedents, creating this argument.

If I am spiritual, I exist.
If I am physical, I exist.
I am either physical or spiritual, or both.
Therefore, I exist.

4a) "All fields of thought" is, like most absolutes in philosophy, extremely subjective and impossible to utilize. Either only those fields of thought that a person has access to are considered (making this a valid and sound, although poorly written, definition), or all fields of thought are infinite and cannot be comprehended by a single human. According to this definition, the only true philosophers are computers and God.
To correct this, I would propose a more specific definition.

x is a philosopher iff x attempts to understand philosophy

To be cute, we could add "habitually" to the latter part. This is more broad, but it really is more precise than the other, also. Of course, you still have to define philosophy, but that wasn't in the assignment, and I might not even do it if it was.

"If we should theorize that the whole of space were limited..."

In his questioning of the then thought to be finite nature of the universe, Lucretius raises the question of what reasonable thing could happen to an item reaching the limit of space. The argument brought forth by him is this: If a man throws a spear, the spear will travel. If a man stands at the end of space and throws a spear, the spear will travel. Therefore, there can be no end to the universe.
His argument is unsound, but certainly valid. Valid because the premisises, if thought to be true, are correctly combined with the conclusion, but unsound because the premise (a spear, once thrown, must travel) is untrue. A counter to this analogy would be simply asking him if a man, standing with his toes to a brick wall, throws his spear at the wall; what would happen to the spear? It would not travel any distance greater than the surface of the wall, and so his premise could easily be false. Also, travel is defined by movement through space. If nothing exists beyond the point at which the spear is thrown, not even space, then it cannot travel through it. It'll probably just bounce off, or something equally anti-climactic.
His argument is based on you accepting the premise "if a man throws a spear, it must travel a distance", which sounds perfectly logical, but really is not a sound premise. The argument is brought down by it, but also engenders a greater understanding of the argument by forcing a counter-argument to be logically constructed.

ARITS study questions (incomplete)

Evan Mowry
FYS-the Family Drama
Ray Schultz

1: People cannot help but be discouraged if, after some time, things they wish to come to pass do not. In Hughes's use of imagery, he aptly describes the feelings that can influence a dream, whether it be realistic or fantastic, when it is percieved to be removed from possibility. In Hansberry's a Raisin in the Sun, the family the play centers around has to deal with many dreams deferred.
I believe that the poem further illuminates the theme of the play by similically describing what is happening, on an emotional level, to the characters in the play. Realistic theatrical drama tends to miss out on the straightforward use of metaphors, as they're hard to work into realistic dialogue without soundind out of place. Pairing different types of media together gives you a much more dimensioned experience and understanding of the story. I also believe that the poem allowed more people than just those that have felt like a raisin in the sun to connect with the theme of the play. The crushing weight of poverty has one effect on this family, but it widens the audience to introduce ARITS with this poem.

2: (This scene takes place seven years from ARITS. The Youngers have stayed in the house they bought, and are happy, but still quite poor. TRAVIS, just about to begin his senior year, is beginning to think of college, and has shown an interest in math throughout his years of growing up. He's walking with a girl, TANYA, on a summer evening; they are good friends and have a closer relationship than most, but their families would make it hard, as TANYA is white, and neither one is willing to take the initiative.)

TANYA: But there's always the community college.

TRAVIS: Yeah, but...You know. I should help out around the house. My grandma just stopped working and it's hard to pay for things as it is, much less college.

TANYA: (exasperated; they've been through this before, it seems) So? Get a loan, financial aid, a JOB. You're never going to get out unless you try.

TRAVIS: I know, I know...I just feel so...trapped?

TANYA: I don't know, do you?

TRAVIS: (rolling his eyes) It wasn't a question.

TANYA: Why? You have everywhere to go, Travis. You're smart, you're driven, and you're compassionate. Why should you have to cage yourself in some minimum wage job so you can stay precisely where you are?

TRAVIS: (stops walking and starts yelling) Well, for one thing this is where my family is! Don't you think I owe them something for all this?

TANYA: All...this?

TRAVIS: That house, my school, this...this walk. Everything. We moved here, and all of a sudden, I have a future.

TANYA: So don't waste it.

TRAVIS: But...

TANYA: You don't owe them anything that you don't already give. The whole reason they moved here is for you.

TRAVIS: What do you know about reasons? What reasons have you had in your life? You go to school because your parents want you to, you're going to college because your parents want you to, you...why? What don't you do that your parents tell you to do? What do you do that isn't done by every little white chick in every suburb in America that's never had to worry about anything? What reasons have you got to do anything!

(Both are quiet for a second. TRAVIS holds his arm up pointing down the street in the direction of TANYA's house and then, with a shiver drops it. TANYA looks up at him, finally, and cuts him off from his apology.)

TANYA: My parents don't want me talking with you. You, apparently, don't want me to talk to you. (special emphasis on "whys") WHY did I come with you, tonight? WHY do I talk about these things with you? WHY do I put up with this...this SHIT?

(another long, long pause. TRAVIS looks wretched.)

TANYA: There's a reason, Travis. One reason, and if you ask "why" right now I'll slap you in the face and say because I'm stupid.

3: The first, most obvious symbol in ARITS is the life insurance check. The maelstrom of emotions that that $10,000.00 piece of paper ignites is impressive. Not only does everyone view it as their way out of their current hole or into paradise, but their views of doing so differ so much that the conflict it provides is the catalyst for everything that happens in the play.
The second, less obvious, major symbol in ARITS is the apartment that the family lives in. It is the antithesis, in the play, to the life insurance check, in that it represents all the things that are wrong in their lives, instead of the solution to them. Much of the stage direction in the beginning of the play describes the set as being dusty and overused and ragged. When they are about to move Ruth buys new curtains for the new house, not even knowing if they fit: the family is so desperate to remove themselves from that environment that they blindly start spending on potentially useless things to cover it up!

4: Racism would be much less of an issue in present day Chicago. In fact, the family would probably be moving from a residential area to a true suburb of Chicago. In the 70s many blacks began to move out of the inner city and into the suburbs, prompting a mirror migration of many whites out of the cities.
Even with low wages and high taxes, the standard of living for people is much higher, but the culture, also, has changed. The essentials of life are now cheaper and of higher quality than they were in the fifties, and housing is, in general, larger. I think the family would not be moving as much as they were for the added space they would gain as they would be for the fulfillment of Mama's children's dreams.
I think it would probably be similar, though, in that moving from one class neighborhood to another would probably be quite challenging, not in the challenges others bring to the Youngers, but in the sense that the Youngers would have to adjust to an entirely different world. There is so much more open space, in a house with a yard as opposed to an apartment, that I wouldn't be surprised if they just didn't know, really, what to do with it.