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• W293933229 abstract "In Clap Shack is Styron's first play. It was performed in December, 1972, at Yale Repertory Theatre. Although it was not reviewed widely, it deserves close attention because it deals with many of his characteristic themes--the nature of freedom, quality of official language--in relaxed, open way. Of course, play is inferior to Styron's best fictions. It lacks, for example, stunning images, romantic views of nature, and tense development of But like plays of McCullers and Bellow, it helps us to understand more clearly impulses behind fiction; it thrusts Styron's obsessions at us. In following essay I explicate written version, hoping to show that it is finished, substantial--if not complex--work which must be read by anyone interested in career of one of our best writers. In Clap Shack begins with these stage directions: The time is summer of The place is Urological Ward of United States Naval Hospital at large Marine Corps base in South. The entire action of play takes place on ward, which differs little in appearance from hospital wards throughout world.... The beds are staggered, so that audience obtains view of each bed and its patient. At extreme stage left is office of Chief Urologist, Dr. Glanz, who rules from cluttered room filled with urological instruments and medical books. The directions introduce tensions which dominate entire play. There is contrast between ward (a closed space) and outside world, but this contrast is somewhat misleading--the is really as, violent as distant battlegrounds. Furthermore, patients and Dr. Glanz are directly opposed. War and illness reign; there is little resting in the summer of 1943. Styron is so interested in warfare between men--one of his favorite themes--that he does not develop character. He gives us stereotypes--the mad scientist, innocent hero, and philosophical Jew--because he believes that only when men battle authoritarian forces do they break out of their roles and achieve some unique identity. Thus his play is drawn in black and white--in vivid, polemical contrasts. Act One begins with Lineweaver, chief male nurse, ordering men to rise and shine. He is caricature; he never seems to be more than cynical underling who uses his authority (gained from Dr. Glanz and Captain Budwinkle) for self-pleasure. He masturbates--in terms of sexual imagery underlying play. He is less natural--and more effeminate, Styron tells us--than his sick patients. Once we realize that he is cruel, ironic, and compulsive, we sympathize with patients he helps. The various patients are even more crudely characterized than Lineweaver. They are fenced in--the radio plays Don't Fence Me In--by their illnesses; they merely laugh or rage at their condition. But in opening scene, we recognize that some of them are capable of rising and shining, of transcending their unwilling imprisonment. Schwartz, solemn, bespectacled Jew, demonstrates concern for dying patient (instead of just feeling creepy). Magruder, who has arrived night before, has also not learned proper responses. He does not know daily routine. He has syphillis--or, at least, official tests proclaim so--and, therefore, he stands out. He is, as Lineweaver ironically claims, a prince among commoners. The various conflicts become more apparent when Dr. Glanz and Captain Budwinkle arrive to inspect patients. Both men are in charge, but they have surrendered to their roles. They, like Lineweaver, have lost personality. Dr. Glanz, for example, always speaks in plural; he views patients (and himself) as specimens to be labelled and treated. He resembles, therefore, many of Styron's authority figures who use official language. …" @default.
• W293933229 created "2016-06-24" @default.
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• W293933229 date "1974-03-22" @default.
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• W293933229 title "Styron's Play" @default.
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