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In her article “Visual Pleasure and Narrative Cinema”, Laura Mulvey states that a film audience derives pleasure from your artform simply by identifying themselves in the personas on display screen (Mulvey, 3). Like theatre, the theatre dampens the audience, producing the conflict strictly together and the regarding the narrative in the dark area. It becomes incredibly natural to get the audience to get emotionally overflow and for the lines among theatre and real life to blur. The effectiveness of political theater rests on its potential to cash in on the audience’s sympathy and emotional connect with the trigger being offered. Exhibiting the situation as an intellectual discussion is too little. Rather, theater and film are most powerful when invoking an disturbing emotional hindrance within the audience. Because the audience has expected their own knowledge of themselves for the primary protagonists, when those characters arrive under strike, the audience is usually distressed. Similarly, they will experience a shared responsibility to fight back up against the exposed issue. In support of this notion, Ngugi wa Thiong’o’s play I Will Marry after i Want defines the plan of politics theatre by using a process of determining the heroes with the viewers and then changing those heroes to reveal the premises of oppression adjacent them. This kind of structure forces the audience to behave in response towards the exposed issues.

In order to include the audience inside the political struggle, the initial characterization presented should be approachable. The group should be able to easily connect with just how that the characters express themselves, a relationship that Wa Thiong’o specifically challenges to achieve in I Will Marry when I Want. The main protagonists, Kiguunda and Wangeci, will be poor cowboys with a small plot of land. They are really a caring family, irrespective of their irregular bickering, and struggle fiscally to make ends meet. Their modest position in society and the conflicts are very similar to those of most people and therefore, become a significant common stage of leaving. Characters like Kiguunda and Wangeci, along with Gicaamba and Njooki, happen to be unremarkable and far from perfect, but the power of their nationalism and commitment are still apparent in their courageous defiance against the Kiois. This balance of flaws and virtues makes an even more man and prone characterization that compels the group to understand them.

The way these characters communicate their thoughts and concepts is also significant. In the reenactment of Gicaamba and Njooki’s wedding, when Ngugi utilizes language the style is simple and unpretentious. Within a society in which theatre was dominated by works of George Bernard Shaw and Shakespeare, California Thiong’o requires a unique method to the visual exemplification of language. His use of stylistic devices are incredibly approachable and simply understandable pertaining to the audience. The imagery is usually that of nature and a primitive way of living, manifest in metaphors and similes that refer to “gourds of honies, ” “hills and slopes, ” and “millet grains” (Wa Thiong’o, 65-66). Through his heavy use of music and dance, the playwright finds a unique but evenly relatable opportunity through which he can express tips and thoughts. In the reenactment of Gicaamba and Njooki’s wedding and many other scenes, soloists, dancers and choruses appear in to join the actors within a musical number. Like normal imagery, song and move is a feature of functionality art that is easily understandable to the audience, because it is a significant part of their particular rituals and community actions and an integral medium of communication. (Wa Thiong’o, 45)

Upon investment their compassion and some of their own self-identity in the protagonists, the psychological coming of age and tainting realization of those characters would thus causes the audience for being deeply disrupted. In putting an emphasis on this process inside the storyline, the emotion vested in the last picture is also significant in delivering this change. After crying about how Gathoni is now pregnant and operating at a bar, Kiguunda destroys the pictures and inscripted board, while Wangeci shouts for him to “Kill me at this point (¦) in that case he can have meat intended for dinner” (Wa Thiong’o, 110). This is a shocking portrayal of the family’s current condition ” far from the beginning from the story when they were portrayed as quiet and supportive.

The idea of virginity and marriage is likewise a primitivist symbol and motif inside the play. A woman’s maidenhood is her most valuable treasure, likewise this can be a metaphorical mark of Kenya’s freedom by oppression. The youth and purity of virginity is also a design for the primitivist notion of Kenya’s cultural integrity and classic values. The motif is established by the term “I can marry after i want, inch which was sung by a inebriated and then by simply Kiguunda, along with the words “while all the padres are still surviving ¦ while all the nuns are still alive” (3). The imagery of padres and nuns suggests purity, plus the diction “still” suggests the regressive characteristics of that virtue. The image insinuates the sovereignty and prerogative to marry openly is only obtainable while Kenya is still in the pure, primitivist and energized position. Later, Thiongo refers to the frailty of innocence and virginity in the lyrics “Maiden give me the precious pieces ¦ and once you lose your face you’ll never think it is again” (12). In the beginning from the play, Gathoni powerfully exclaims that “I will martha when I want! ” (16) and works away to Mombasa with Muhuuni in hot weather of love. Nevertheless , by the end, Gathoni is pregnant and left behind by Muhuuni. Muhuuni deceived her into pregnancy simply by saying that he’d not get married to a girl who may be not pregnant since that might show that she is barren. Thus, Gathoni not only loses her virginity, but likewise the prerogative to get married to when the girl wants for the reason that situation could force her into a shotgun wedding best case scenario. The audience’s identity is definitely vested during these characters’ changes, thus that they suffer these kinds of disappointments alongside Gathoni. Coupled with the lurid imagery of Gathonis emotional conflict and oppression, the audience is required to sympathize with her and question a society that would allow this sort of a penoso abomination.

Inspite of inciting the emotional shock stated above, the perform does not provide the solution to those issues inside itself, as a result compelling the group to find that solution through their lives. Theatre gives the recognition and leads the audience back straight to actuality where that they left off before they entered the theatre. In Let me Marry when I Want, the conflict in Kiguunda’s as well as Gathoni’s possible marriage to John Muhuuni is a metaphor for the colonial regulation of Kenya. The disputes are compacted into approachable symbols from the political concerns in the country, actually after their particular independence. An example is when the Kiois enter the room and one of them causes the title action to fall season. Gicaamba at some point picks it up and hangs it back around the wall (42). The title deed is proof of Kiguunda’s possession of the land. Likewise, this can be a symbol of freedom mainly because “these are mine own” (4) and this area he has the autonomy and prerogative to live freely without being oppressed. A similar freedom is usually threatened by the Kiois’ introduction and make an attempt to colonize the lives of folks like Kiguunda by persuasion them in selling their particular land and forcing them into Christian marriage customs, the cost of which in turn eventually cause them to lose the title deed. This kind of twisted scenario mirrors Kenya’s condition at the same time where the countrys cultural id is being vigorously compromised, certainly not by colonizers, but by their own brethren who have blindly sworn their loyalty to external lout elements. The play proves at the height of this issue and having a realization from the solution. Gicaamba states, “Let’s not fight amongst ourselves” (110) and implores his countrymen to unite against the real enemy, “Ahab Kioi wa Kanoru ¦ The Oppressor, Child of Grab-and-Take. ” (111). Coupled with the audience’s emotional connection with Kiguunda and Wangeci, they are thrust into the same motivation to action against the real opponent. Like Kiguunda and Wangeci, the audience is only in the beginning from the fight to reclaim their cultural identification. Despite the national freedom, Kenya is very much still colonized by the ideologies of the West and the financial dominance authenticated by individuals ‘superior’ nations. History and contemporary society were influenced from the point of view in the petit-bourgeois, and theatre was presented occassionaly as a extravagance to the people. It absolutely was “confined within walls” and given simply “if that they [the people] behaved themselves” (Wa Thiong’o, 41). The play compels the realization that empowerment is necessary pertaining to Kenya’s cultural integrity, but since for the response to this problem, the audience has become invigorated to seek it for themselves in reality.

An easy way to accomplish personal agenda through theatre and compelling an audience to act upon a cause through including all of them in the fight. A playwright can therefore portray the transformation of the characters as they recognize their oppression and empower themselves. By subjecting the distressing justice of reality onstage brings the group closer to the characters and induces a non-cathartic psychological connection with the audience which in turn forces them to consider an active personal stance. Through this method, the playwright pixels the line among a sad account and a great unsettling truth, thus driving a car home the sense of urgency which the audience is usually invited to behave.

Bibliography:

Mulvey, Laura. Visual Delight and Story Cinema. 99.

Ngugi, Wa Thiongo. Decolonising your brain: the Governmental policies of Dialect in Africa Literature. London: J. Currey

1986.

Ngugi, Wa Thiongo., and California Mirii. Ng? g?. I Will Marry Once i Want. London, uk: Heinemann, 1984.