Titre : Dutchman and The Slave
Éditeur : Apollo Editions, Grove Press paperback
Date d'édition : 1964
Two plays by Amiri Baraka (aka Leroi Jones). Not hilarious as was "The relation of the Lone Ranger to the Means of Production" attended in New York in 1982 by his family of five and three others, besides myself and a friend. Taylor Meed spinning his Lone Ranger gun with his spaghetti hands and his semi-doped seeming langorousness, hilarious – Baraka seems to have developed a sense of humour which one would’ve thought unimaginable throughout his life, the brief hiatus was fascinating. Judging from Hettie Cohn Jones’s book (see "COHN, HETTIE") and judging from his other plays, that was an aberration. Dutchman and The Slave were not, the former one of the leading misogynist plays of the 1960’s, simply obscene hatred and self pity. Attending his double bill The Slave and The Toilet (poster by Larry Rivers, white) at the Cherry Lane theatre – two flights up and seats for about 25 people– in 1965 with my grandmother, it was truly in your face. Five inches from the first row (there were I recall only two, perhaps three, rows) actors were yelling, shouting, shooting up, masturbating, trul in your face violence and stunningly good acting and directing. My grandmother found it truly interesting, same grandmother who survived Berlin under the Nazis in hiding, once recognized – in the midst of Berlin during the war, catching a tram – by Veit Harlan, a dear friend before he turned into the notorious anti-Semitic filmmaker of Jud Süss, hailing her with "Hallo Elli, wie geht"s?" She went white, turned around and walked away, fast. The Gestapo found her address some months later and she was hidden by a Protestant priest in a village for a while meanwhile, 20 years later, she survived the LeRoi Jones assault course in theatre rather well. And we took the black and orange bus back from Port Authority to North Bergen, New Jersey (Bergen North, as its called in The Sopranos). Near mint condition. N° de réf. du libraire INDE-C70365
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