337:. A very general plot begins, when we are introduced to The General, who fights with the landlord's men about his right to vote on "Lection Day", in 1840. The scene abruptly transitions to Caroline, who sings an 1840s song while The Children dance a 'Lection Day' dance. The Children then recite very fragmented passages about the Walker-Smith House, where they are putting up their play, and then repeat the poetic passage about the state of World War II. We are then introduced to another repeated theme, the wedding of Constance and Roy, played by The Children. They have plans to get married, and throughout the play, they prepare for the big day. Constance recites a hundred-year-old poem while The Children repeat the World War II poem yet again. The play transitions yet again to Roy as an Editor, who states that he formed the
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declines, and the ship sails away. As the ship disappears, The
General is grabbed and beaten to death with stones. Some Children reenact an Indian battle, while others continue to draw the sailing ship and The General's death on the murals. The Asst. Curator, who has been showing fragmented film clips the entire play, has now disappeared. Constance tells Roy it is their wedding day, and suddenly, the Carriage Room explodes. Cries and yelling are heard, and it is revealed that the whites have bombed the church. The play ends with The Children solemnly saying, "They're dead. Connie and Roy are dead."
388:, as Kennedy's allegorical representation of the memory of childhood deals with multiple issues at once. The chaotic nature of the play represents the chaotic nature of childhood and oppression. Highly symbolic, the panels represent realistic historical representations of what The Children are reenacting on stage, and the repeated passage about the state of World War II can be connected to the historical events that are depicted. The Asst. Curator could seem to represent a sense of stability; she is the only adult in the play, and the explosion only occurs after she disappears.
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is happening on stage onto the murals. The more chaotic the scene is, the more ferociously The
Children paint. The Asst. Curator is also showing fragmented films throughout the play. The short one-act opens with The Children reciting a fragmented poem about the state of World War II. This poetic passage is repeated throughout the play, and mentions
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does not follow a linear structure, though it depicts a chaotic hour before the
Children's Day Play. A note from the author at the start of the play indicates that "The most important thing about the play is that things happen simultaneously." Throughout the entire play, The Children paint whatever
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exhibit are present. The small stage in the annex, the area of folding chairs, and the carriage room are the main set pieces for the play. There is also a room downstage from which the Asst. Curator brings more folding chairs. A radio plays the whole time. It is a chaotic hour before the
Children's
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rings, and The
Children throw flowers on them. The play then transitions again, and The Children as Passengers are waiting to board the Ship Vine to Liberia. The passengers recite a creed, and Constance and Roy board the ship. They ask if The General would like to join them, though he politely
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is a short, one-act children's play that follows no real linear structure. The play depicts a chaotic hour before the
Children's Day play, and features about ten Children playing various roles, and one adult. The play draws heavily from Kennedy's surrealist writing, and her allegorical, poetic
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in which civic events are held. Beyond the annex is a carriage house. These two rooms comprise the stage for "Black
Children's Day". In the annex is a screen showing a sort film titled, "History of Walker Smith House", and several folding chairs, a small stage, and a
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passages create a loose structure for the play. Three major themes are repeated throughout the play, the World War II radio passage, the wedding of
Constance and Roy, and the passage of the Ship Vine to Liberia.
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as an element to explore the
American experience from a non-white perspective, drawing on symbolism, mythical and historical figures, and themes of race, violence, and family to create her works. Specifically,
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Andrews, William L., et al. “Adrienne
Kennedy.” The Oxford Companion to African American Literature. Eds. William L. Andrews, Frances Smith Foster and Trudier Harris. New York: Oxford, 1997. 418-19. Print.
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The panels are realistic representations of what is happening on stage. The Children will draw on these panels throughout the play; there are five specific scenes on these panels. They are listed below:
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Andrews, William L., et al. “Adrienne Kennedy.” The Oxford Companion to African American Literature. Eds. William L. Andrews, Frances Smith Foster and Trudier Harris. New York: Oxford, 1997, pp. 418-19.
231:, in an unspecified New England town. The Children are putting up a play in Walker-Smith House, a historic mansion turned museum. In the Walker-Smith House is an
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Kennedy includes a note about the children, "The Children are not realistic... but are like the memory of childhood... endearing, innocent, and very serious."
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Kennedy includes two pages of instructions for the set pieces. The notes for the various set pieces are somewhat cryptic, and are listed below:
384:, violence (specifically towards children), surrealism to depict reality, rights for African Americans, slavery. Many themes can be drawn from
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345:. A third plot point is then introduced; Ship Vine and its passage to Liberia. Constance and Roy are then married. They trade
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414:, which inspired her to pursue playwriting. She graduated from Ohio State in 1953 with a BA in Education and studied at
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refers to Kennedy's highly symbolic work as such: "Miss Kennedy is weaving some kind of dramatic fabric of poetry."
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to explore non-realistic characters in a chaotic sense. Many of Kennedy's plays are "autobiographically inspired".
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Negro Children of the Anderson Elementary School... a local school (appears as Slaves, Indians, Passengers)
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in 1954-56. Kennedy has written around 20 plays, most of which draw on her personal experiences.
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in 1980, was not widely received. The play was never published, or produced. However, in 1995, a
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Panels for the Set - very detailed realistic, oil paintings, accurate historical detail
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These panels are realistic, and historically accurate in oil paints.
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400:, PA on September 13, 1931. Kennedy spent most of her young life in
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Barnes, Clive. "'A Rat's Mass' Weaves Drama of Poetic Fabric"
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Afro-American Writers After 1955: Dramatists and Prose Writers
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African American Women Playwrights: A Research Guide
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488:Davis, Thadious M.; Harris, Trudier (1985-01-01).
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258:Mural - is violent abstract lines Bright Crayons
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296:The Ship Vine at the Port before Sailing to
273:Play practice - out of sequence, illogical
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408:. One of the first plays Kennedy saw was
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305:Lost Slaves Landing on New England Coast
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184:Asst. Curator of the Walker-Smith House
629:Feingold, Michael. "Blaxpressionism."
494:. Gale Research Company. p. 163.
341:, and will lead a group of Negroes to
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347:Jack Armstrong, the All-American Boy
261:Aircraft Photographic Exhibit - dark
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181:The General (one of The Children)
515:Kennedy, Adrienne (2001-01-01).
267:Radio - subliminal - incomplete
178:Constance (one of The Children)
190:Caroline (one of The Children)
72:weaving of mythical/historical
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463:. Psychology Press. pp.
16:1980 play by Adrienne Kennedy
518:The Adrienne Kennedy Reader
212:The General wears a uniform
209:Boys are in navy blue suits
94:Annex of Walker-Smith House
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615:Kennedy, Adrienne (1980).
600:Kennedy, Adrienne (1980).
585:Kennedy, Adrienne (1980).
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545:. November 1, 1969, pg 39.
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667:Adrienne Kennedy's papers
635:. October 3, 1995, p. 93.
293:Meeting in the Store Room
206:Girls wear summer dresses
113:. It was commissioned by
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22:Black Children's Day
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398:Pittsburgh
241:Day play.
167:Characters
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126:surrealism
122:playwright
81:Surrealism
37:Characters
27:Written by
402:Cleveland
354:Reception
44:Constance
422:See also
369:critic,
68:violence
669:at the
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298:Liberia
253:The set
245:Staging
223:Setting
159:critic
145:Summary
91:Setting
61:Subject
56:English
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382:Racism
377:Themes
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278:Panels
65:Racism
233:annex
193:Radio
105:is a
77:Genre
523:ISBN
496:ISBN
469:ISBN
137:and
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