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''The Colored Museum'' is a play written by George C. Wolfe that premiered in 1986, directed by L. Kenneth Richardson.〔George C. Wolfe. ''The Colored Museum''. New York: Methuen, 1987, p. i. ISBN 0413179508〕 In a series of 11 “exhibits” (sketches), the review explores and satires prominent themes and identities of African-American culture.〔Errol G. Hill and James V. Hatch. ''A History of African American Theater''. New York: Cambridge University Press, 2003, p. 441. ISBN 9780521624725〕 ==Exhibits (sketches) == * Git on Board: Miss Pat, a flight attendant, welcomes the audience aboard the fictional “celebrity slaveship,” whose Savannah-bound journey from the Ivory Coast demands that passengers (audience) are to obey the “Fasten Shackles” sign and are not to rebel.〔Wolfe, 1987, pp. 1-6.〕 The sketch explores and critiques the history of African Americans, from slavery to the regency of the basketball star.〔 * Cooking' with Aunt Ethel: Mammy Aunt Ethel host a cooking show in which she sings the recipe on how to “bake yourself a batch of Negros.”〔Wolfe, 1987, pp. 7-8.〕 * The Photo Session: A glamorous black couple wearing “the best of everything and perfect smiles,” retreat from their past/history into a superficial world of narcissistic glamour.〔Wolfe, 1987, pp. 9-10.〕 ''The Photo Session'' is Wolfe’s critique on the images and models of Ebony magazine.〔Frank Rich, ("Stage: 'Colored Museum,' Satire by George C. Wolfe" ), ''The New York Times'', November 3, 1986.〕 * Soldier with a Secret: In a monologue, deranged African American soldier sees his peer’s painful future and chooses to spare them the inevitable by killing them before they are forced to endure what their future holds.〔Wolfe, 1987.〕 * The Gospel According to Miss Roj: Transgendered Miss Roj “looks beneath the surface of his glittery nocturnal existence to find maggot-laced visions of ‘a whole race trashed and debaed’” while in a homesexual nightculb.〔 * The Hairpiece: A woman getting ready for a date is faced with an identity crisis when her two wigs, one a 1960s afro wig, the other a “long flowing wig,” come to life and “debate the ideological identity conflicts they represented in their owner’s life for 20 years.”〔 * The Last Mama-on-the-Couch Play: Presented by a “Masterpiece Theater”-type announcer, this exhibit explores and satirizes Black drama formula used in theater and film.〔 Some characters include a “well worn” mama on her “well worn” couch who fights with her son Walter-Lee-Beau-Willie-Jones whose “brow is heavy from three hundred years of oppression.”〔Wolfe, 1987. pp. 24-32.〕 The Last Mama-on-the-Couch is Wolfe’s parody of ''Raisin in the Sun'' and goes from overacted melodrama to an all-black broadway musical number.〔 * Symbiosis: A man is confronted by his former childhood self while trying to throwing away his past, “only to discover that his rebellious younger self refuses to be trashed without a fight.”〔 * Lala's Opening: Singer Lala Lamazing Grace is haunted by her former childhood self, an identity she thought she disposed of.〔Wolfe, 1987, pp. 38-46.〕 * Permutations: A monologue in which Normal Jean, a young southern girl, explains to the audience how she laid a giant egg which is filled with babies.〔Wolfe, 1987. pp. 47-49.〕 * The Party: Topsy Washington imagines a huge party in which “Nat Turner sips champagne out of Earth Kit’s slipper” and “Aunt Jemima and Angela Davis was in the kitchen sharing a plate of greens and just goin’ off about South Africa.”〔Wolfe, 1987, pp. 50-53.〕 This exhibit merges the past and present to create Topsy’s fantasy party which defies logic and limitations.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Colored Museum」の詳細全文を読む スポンサード リンク
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