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• W1915696589 abstract "Grimke's Rachel is a play that is frequently credited with historical significance but which has rarely, since its first performances and publication, been the subject of extensive or individual critical analysis. With few exceptions, the more recent tendency has been to situate and consider the play within some larger context. the development of black playwriting in America, the tradition of dramatic writing established by a number of black female playwrights in the early century, or Grimke's literary career as seen in its overall perspective or in relation to other writing of the Harlem Renaissance. As a result, there is surprisingly little current criticism that focuses exclusively on Rachel's own particular theatrical identity or upon what Grimke has wrought in purely dramaturgical terms. Part of the reason for this may arise from the play's relative unfamiliarity, or from perceptions concerning aspects of Grimke's dramatic style, which has often been rather apologetically characterized as romantic, Victorian, or sentimental.(1) Despite the possible legitimacy of such reservations, however, what Grimke has created in this first play of hers is an extraordinarily complex title character. Rachel is a figure of considerable psychological intricacy and emotional volatility, and these are factors that continually complicate and enrich the larger drama and provide many of the play's interactions with an arresting, unusual, and highly charged dramatic tension. Of Rachel's historical importance there can be little doubt. Produced in March of 1916 by the Drama Committee of the NAACP in Washington D.C., it was, according to Locke and Gregory, the first successful drama written by a Negro and interpreted by Negro actors (414)--an assertion that has been qualified in certain ways by later critics.(2) Moreover, the play was a first in terms of its deliberate program and platform. The playbill for its premiere production contained the following message: This is the first attempt to use the stage for race propaganda in order to enlighten the American people relative to the lamentable condition of the ten million of colored citizens in this free Republic (qtd. in Hull 117). As Hatch and Shine report, the play was immediately controversial, even among members of the Drama Committee, some of whom favored a more artistic approach over deliberate propaganda; the play's black audience was also divided in its response (137).(3) Such controversy apparently intensified in the aftermath of subsequent productions (in 1917), and especially following the publication of the play in 1920. Kathy Perkins writes that Rachel's publication drew a large number of reviews that were primarily favorable. However, there were those critics who charged Rachel with advocating genocide (9). Responding to criticisms of the play, Grimke clarified her own ambitions for the work, defined the audience she hoped to reach with it, and denied that it preaches race suicide.(4) In an article in the January 1920 issue of The Competitor, the author provided significant clues about the of her title character and also about the particular that her play would address: Because of environment and certain inherent qualities each of us reacts correspondingly and logically to the various forces about us. For example, if these forces be of love we react with love, and if of hate with hate.... Now the colored people in this country form what may be called the submerged tenth. From morning until night, week in week out, year in year out, until death ends all they never know what it means to draw one clean, deep breath free from the contamination of the poison of that enveloping force which we call race prejudice.... Now the purpose was to show how a refined, sensitive, highly-strung girl, a dreamer and an idealist, the strongest instinct in whose nature is a love for children and a desire some day to be a mother herself--how this girl would react to this force. …" @default.
• W1915696589 created "2016-06-24" @default.
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• W1915696589 date "1993-09-22" @default.
• W1915696589 modified "2023-09-23" @default.
• W1915696589 title "Reactions of a Highly-Strung Girl: Psychology and Dramatic Representation in Angelina W. Grimke's 'Rachel.' (Women's Culture Issue)" @default.
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