Parenthesiss Of Blood Essay, Research Paper

Adam Brassard

4/15/99

Parenthesiss of blood

By Sony Labou Tansi

Dramas are classified into four sub-fields: calamities, comedies, melo-dramas, and sarcasms. Each sub-field has features, which makes it identifiable. It is common to happen any combination of the sub-fields within a drama. To sort play one must look at the more outstanding subject.

This paper is concentrating on the play? Parenthesiss of blood? , by playwright Sony Labou Tansi. Tansi was born in Congo in 1947. Of his 15 dramas most were published in French. In 1986 his work was commissioned for English interlingual rendition. Tansi has lived through Africas period of colonialism and the dictorial authoritiess that followed.

Congo was under Gallic colonial regulation through his adolescent old ages. It went through periods of military absolutism before democratisation. Tansi was a member of the opposing party in Congo and won himself a place in the National assembly in 1993, merely two old ages before his decease. Like many others in post-colonial Africa, Tansi felt oppressed and untrusting of authorities, this is clearly apparent in? Parenthesiss of blood. ?

This drama is an African Drama. Three-dimensional characters are common in African play, this is necessary in order to do the play believable. Another subject of African dramas is the presence of a storteller. This is common because many dramas have been passed down through coevalss by word. A 3rd distinguishing characteristic is an audience that has an active function within the drama. A concluding identifying beginning is the presence of vocal and dance.

The characters in Tansi? s drama were unimpeachably 3-dimensional. They all had distinguishable personalities and organic structure, an indispensable for doing the play believable. How can the absence of the three staying elements of African play be explained? Tansi? s work was done in the post-colonial period. Because of Gallic influence African vocal and dance became less outstanding. It was non wholly wiped out, but because of Gallic policy many one time common tribal vocals and dance became less common among Africans. Writing in a modern period Tansi had no demand for a narrator. This drama is a word picture of the manner Tansi saw life in Africa from his ain point of position. Tansi did non take to hold an active audience. Not all African play had this characteristic, but this could be another effect of the passage to the post-modern literature of Africa. All literature alterations with clip and specific elements of literature can be associated with a given period ; this passage in African play can be compared with the identifiable periods in American literature.

Tansi? s piece of literature can be classified as a sarcasm. There are three placing subjects in a sarcasm ; they deal with social frailties, reject persons so the society can be cleansed, and are extremely dry. Each of these subjects is found in this drama.

The scene of Tansi? s piece is in an African community in postcolonial Africa. This little community is symbolic of many African states after colonialism. After independency was granted the imperial imperiums of France and Britain picked up and moved out of Africa. Most African provinces were left without stable political establishments. This made it easy for powerful ground forces leaders to take control of the authorities. Once in power the leaders would set up bogus democracies. Elections were held in African societies, but the opinion party frequently rigged them. In a sense dictators ruled each state.

In the drama the frailties of the African society are clearly identified, ? The jurisprudence forbids belief in Libertashio? s decease, whether he is dead or non. Therefore he is non dead? ( 11 ) . The

frailty of this society is with its political establishment. The ground forces had orders from the capital to kill Libertatio and anybody who denied that he was still alive. The sarcasm of the state of affairs was seen when Martial asked Mark what would go on if they brought back a sham. ? Mark: Send us back for another. Martial: And what happens to the sham? Mark: He is killed. What else? Libertatio has a different face every clip. His organic structure alterations every bit frequently as most people? s tempers. He? s tough as they come? ( 14 ) .

Who is Libertatio? He symbolizes the feelings that many African people had. As was said earlier bogus democracies were established in Africa, Libertatio stands for those that were sick of their authorities. One could state that Libertatio is a true democracy. In the get downing the group denied that Libertatio was alive. Because of this they were sentenced to decease. As the narrative come on their tempers alteration. They begin to stand up for Libertatio, ? Long unrecorded Libertatio? . This is dry because they are standing up against their authorities. The ground for their support of Libertatio is non for anything he has done ; it is their manner of talking out against political corruptness.

The drama is full of sarcasm ; it is impossible to advert it all. One extremely dry scene comes at the terminal. All know that decease is coming. They have protested it and hold even begun to fix themselves. All were afraid to decease, but one much less so the others. Dr. Portes realized that decease was inevitable and stood strong. He supported Libertatio even as the gun barrel was at his caput, imploring them to kill him. Merely so a soldier came with the intelligence that Libertatio was a national hero, and this group was to be spared. The sarcasm comes in here. The group is killed by Cavacha and back uping soldiers, but who is left alive, none other so Dr. Portes. Cavacha leaves stating, ? Those who want to follow me, allow? s spell. We? ll destroy the province wireless station. We? ll tear down the capital? ( 56 ) . This is another illustration of the political instability ; Cavacha is be aftering a putsch.

In sarcasm? s persons are rejected so the society can be cleansed. One would normally presume that it is the? bad? that is rejected. In this drama I would reason that those being oppressed are rejected. By the dramas end those that stood against a barbarous authorities lost. It is apparent that Cavacha would non give up power without a battle. Either manner one looks at it there are two sides and each side rejects the motivations of the other.

Could this play perchance be a calamity? I would reason that it couldn? T. The characters were non of the baronial category, but the determinant factor for me was there was no chief character? hero? that died because of a tragic defect. Classifying it as a comedy can be ruled out. One characteristic of a comedy is that it ends positively and this piece surely did non make that. It was a amusing drama, but this was due to the sarcasm, the wit of a comedy is different. Why non a melo-drama? I could non positively govern out this categorization. Melo-dramas have a simple line between good and evil and this drama does hold that. One could reason that it is an emotional drama every bit good. I would state it was largely due to the sarcasm found throughout the drama that led me to the decision that it was a? political? sarcasm.

I think Maryse Conde said it best, ? We should avoid seeking to happen a individual significance, thereby cut downing it to a set of symbols, narrowly conceived. ? Interpreting literature is non an easy undertaking. Many things can be taken different ways, depending on the reader? s ain prejudices. However this drama is taken one must non bury Tansi? s background. He was frustrated with the corruptness of the authorities he was portion of, ? Parenthesiss of blood? gives one a expression at a little piece of the subjugation Africans endure everyday.

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