An examination of tension between blacks and whites in contemporary America, The Slave is the story of a visit by African American Walker Vessles to the home of Grace, his white ex-wife, and Easley, her white husband. Baraka points up the black man’s low status in American society but also stresses that he is victimized and enslaved by his own hatred and is thus unable to effect social change.
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1964, St. Marks Playhouse, New York City
1971
Harper Perennial
9780688210847
Realistic
Weaving poetic drama with myriad documentary sources, A Line in the Sand rips the benevolent mask off recent western peacekeeping operations and challenges Canada’s long treasured national mythology that it is a nation of quiet diplomats. It asks us to imagine how horrors like these could be perpetrated with our money, in our name and by people much like us.
Realistic
Guillermo Verdecchia’s first play, Another Country (originally Final Decisions [War] ), was his response to his home country Argentina’s Dirty War in 1976–83, when leaders of the military junta held that their campaign against “leftist subversives and terrorists” was the beginning of the third world war. The scale of their undertaking was defined by their statement: “First we will kill all the subversives; then, their collaborators; later, those who sympathize with them; afterward, those who remain indifferent; and finally, those who are undecided.” The public relations firm Burson-Marsteller was hired to make Argentina look good while the junta (trained in counter-insurgency at the U.S.-based and funded School of the Americas, or The School of the Coups as it’s known in Latin America) and its collaborators reorganized the nation.
