In his play Ma Rainey’s Black Bottom, opened at the Yale Repertory Theatre on April 6, 1984, the African American playwright August Wilson evokes provocation, individualism versus general conceptions of the Black man’s world, conservatism versus progressiveness, and exploitation. The play surprises by its unanticipated, cruel ending, is relatively poor in action but subtly embeds external conflicts (respectively, racial issues), as well as internal conflicts (trivial quarrels among the characters).
Since I see a crucial juxtaposition between two characters – Toledo, the intellectual, and Levee, the ignorant, who theatrically become opponents in the final man-slaughter scene – I am focusing on a comparison between those two after a brief description of the plot and the set of characters.
The first third of the play bears a faint resemblance with Waiting for Godot, because it depicts the impatient White producer and manager, as well as the quarrelling Black band members waiting for their singer, the famous Ma Rainey, who takes her time getting her “big black bottom” to the rehearsal scheduled for 1:00 p.m. She banishes one band member, ignorant, conceited, and vain Levee (who is constantly seen polishing his shoes), from future productions. Levee dreams of establishing his own band, anyway, hoping to become famous with his more modern songs – “not this old jug band shit” (16) – that the White producer has promised to record with him. However, the latter retracts his offer, offering him ridiculous five dollars for each of his songs, leaving Levee stranded, who is already so overheated that he overacts, pulls his knife, and in affect stabs his colleague Toledo who accidentally steps on his shiny shoe.
This shoe stepping scene (which takes place on page 87: “Hey! Watch it… shit! You stepped on my shoe!”) is foreshadowed by a similar event when another band member, Slow Drag, by mistake commits the same “crime” (p. 26: “Damn, Slow Drag! Watch them big-ass shoes you got.”) The irony of the play is that the most understanding of all characters is killed for nothing, for having left a tiny mark on the unstained, immaculate, eleven-dollars-worth of shoes.
Table of Contents
1. Title of Text and Author
2. Setting
3. Plotline
4. Theme
5. Key Characters: Their Motifs, Motivations, and Marking-Offs
5.1 Ma Rainey: Director
5.2 Irvin: Conformist
5.3 Sturdyvant: Director
5.4 Cutler, the trombone player: Traditionalist (Christian conservative)
5.5 Slow Drag, the bass player, the Bon-Vivant
5.6 Sylvester, the loner
5.7 Dussie Mae
5.8 The Policeman
5.9 Toledo, the pianist, and Levee, the cornet player
5.9.1 Toledo
5.9.2 Levee
Objectives and Themes
The assignment provides a critical character analysis of August Wilson’s play "Ma Rainey’s Black Bottom," focusing on the power dynamics, racial tensions, and individual motivations of the musicians and their white employers in 1920s Chicago.
- Exploitation of Black artists by the white-owned recording industry.
- Conflict between traditional blues aesthetics and modern, avant-garde styles.
- The psychological impact of historical trauma and racial oppression.
- Individualism versus communal identity among the band members.
- The symbolic role of Ma Rainey as a commanding figure of authority.
Excerpt from the Book
The Curmudgeon: “Done went and filled the white man’s belly and now he’s full and tired and wants you to get out the way and let him be by himself.” (41) [Toledo to Levee, and also to the other band members]
He’s not talking, he’s holding (sometimes cynical) speeches (in Black folk’s sociolect; in this, he does not differ from the other musicians). Most of the time, the others do not comprehend him. His most important speech contains the metaphor of the stew: “Now I’m gonna show you how this goes… where you just a leftover from history. Everybody come from different places in Africa, right? Come from different tribes and things. Soonawhile they began to make one big stew. You had the carrots, the peas, and potatoes and what not over here. And over there, you had the meat, the nuts, the okra, corn…. And then you mix it up and let it cook right through to get the flavors flowing together… then you got one thing. You got a stew.” (41) He goes on describing that the stew is eaten, but that there are still some carrots and potatoes left over, with which nothing is done. Toledo brings his parable to the point in a comparison between the Black and the White man: “See, we’s the leftovers. The colored man is the leftovers. (…) The problem ain’t with the white man. The white man know you just a leftover. ‘Cause he the one who done the eating and he know what he done ate. (…) And if you wanna find out, you just ask Mr. Irvin what he had yesterday for supper. And if he’s an honest white man… which is asking for a whole heap of a lot… he’ll tell you he done ate your black ass and if you please, I’m full up with you… so go on and get off the plate and let me eat something else.” (41)
Summary of Chapters
Title of Text and Author: Identifies the primary work as August Wilson’s 1984 play "Ma Rainey’s Black Bottom."
Setting: Describes the restrictive, claustrophobic atmosphere of the 1920s Chicago recording studio where the play takes place.
Plotline: Outlines the narrative arc involving the delay of the lead singer and the climactic, violent confrontation between band members.
Theme: Highlights the central exploration of the exploitation of Black musicians within the recording industry.
Key Characters: Their Motifs, Motivations, and Marking-Offs: Provides a comprehensive psychological profile of each character, analyzing their roles as archetypes and their individual responses to systemic oppression.
Keywords
August Wilson, Ma Rainey’s Black Bottom, Blues, Racial Segregation, Exploitation, Toledo, Levee, Chicago 1920s, Character Analysis, African American Drama, Musical Identity, Power Dynamics, Trauma, Avant-Garde, Traditionalism.
Frequently Asked Questions
What is the core subject of this analysis?
This paper provides a critical analysis of August Wilson’s play "Ma Rainey’s Black Bottom," focusing on character archetypes and the socio-political tensions depicted in the work.
What are the primary themes discussed?
The analysis covers themes of racial exploitation, the conflict between traditional and modern musical styles, the impact of historical trauma, and the pursuit of individual agency.
What is the main objective of the assignment?
The objective is to deconstruct the motivations and personality components of the play's characters to understand how they embody different responses to the oppressive climate of the 1920s.
Which methodology is applied in this study?
The author uses a character-driven literary analysis, examining dialogue, behavioral patterns, and symbolic actions to contrast the characters' worldviews.
What does the main body of the work cover?
The main body details the specific roles of characters like Ma Rainey, Toledo, and Levee, using textual evidence to explain their motivations, conflicts, and tragic trajectories.
Which keywords characterize this paper?
Key terms include August Wilson, Blues, Exploitation, Racial Segregation, Toledo, Levee, and African American Drama.
How does the author interpret the role of Ma Rainey?
The author portrays Ma Rainey as an uncompromising "director" of her own environment, highlighting her status as a powerful, albeit stereotype-leaning, figure who resists white authority.
What is the significance of the "shoe stepping" scene?
The scene is interpreted as a manifestation of Levee’s internal rage and trauma, serving as a trigger for the play's shocking, violent conclusion.
How is the relationship between Toledo and Levee contrasted?
Toledo is identified as the "visionary" and "traditionalist" who values intellect, while Levee is seen as the "rebel" and "architect" who represents a dangerous, modern departure from past norms.
- Quote paper
- Dr. Christina Lyons (Author), 2006, Critical Analysis of August Wilson's "Ma Rainey’s Black Bottom", Munich, GRIN Verlag, https://www.grin.com/document/1132988
