By Arthur Miller
Arthur Miller's penultimate play, Resurrection Blues, is a darkly comedian satirical allegory that poses the query: What may ensue if Christ have been to seem on this planet at the present time? In an unidentified Latin American state, basic Felix Barriaux has captured an elusive progressive chief. The insurgent, recognized by way of numerous names, is rumored to have played miracles in the course of the geographical region. the final plans to crucify the mysterious guy, and the particular tv rights to the twenty-four-hour reality-TV occasion were offered to an American community for $25 million. An allegory that says the interconnectedness of our activities and every person's culpability in international occasions, Resurrection Blues is a comedic and tragic satire of precarious morals in our media-saturated age.
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Arthur Miller's penultimate play, Resurrection Blues, is a darkly comedian satirical allegory that poses the query: What might take place if Christ have been to seem on the planet at the present time? In an unidentified Latin American nation, common Felix Barriaux has captured an elusive progressive chief. The insurgent, identified through a variety of names, is rumored to have played miracles in the course of the geographical region.
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Example text
In the character of Othello—his special favourite (for he has a decided preference for serious parts)—he seems to have precisely Dr. Johnson’s conception of it. ” Mr. Aldridge feels and acts all this. In “The Slave,” he is solemn in the intensity of his hatred, bursting out occasionally into a blaze of fierce invective and passionate declamation, and then hiding the fire of his feelings beneath the assumed servility necessary to his purpose and his station. There is no other actor who exhibits the same amount of gravity, save Mr.
His engagement at the Surrey Theatre has just terminated with offers to renew it; but it is on the Middlesex side [of] the water he must take his stand and be thoroughly tested. ”—The theatrical critics are loud in praise of a real Ethiopian tragedian, a Mr. Aldridge, with the unusual Christian name of Ira, which is, no doubt, symbolical of its owner being “the rage,” wherever he goes. Mr. Aldridge will, no doubt, soon come forward more conspicuously than he has hitherto done, and justify the above remark.
This honour was delivered to Mr. Aldridge through the consul in London. Many addresses have been written for him, and to him. From among the former we extract the following clever poetic effusion, from the pen of Mr. Stirling Coyne, a dramatic author of some metropolitan celebrity—one who has contributed largely to the best productions of the Adelphi, and the writer of its latest successful pieces:— ADDRESS. ”—’tis o’er; The mask has fall’n—I’m actor here no more. But still your pupil—protégé—whate’er Your kindness made me, and your fostering care, “This mourning suit” perchance offends your sight; But Nature triumphs, and asserts her right; Expands my heart, and bids my tongue explain The pride—the gratitude that swells each vein, That floods unseen my dusky cheek—and dwells Enshrin’d within my bosom’s deepest cells; Nurs’d in the land, where rolls the giant tide, Of sluggish Senegal, through deserts wide, Where every tainted breeze comes winged with death, And Nature sickens in the poison breath; Amid such scenes the Negro strays alone In happy innocence—untaught—unknown: Happy because that desert’s faithless sand ❧ memoir and theatrical career of ira aldridge 29 He claims his own, his long-loved native land.