The following monologue is based on an interview I did to my grandfather, José, a Jew survivor of World War II. I chose his experience because I find it moving and sincere. Even though the monologue shows a small act of oppression, its significance is broader – the character's statement alludes to the violation of human rights during World War II and in any war or massacre. The soldier in this monologue represents the power of the oppressor, as opposed to frailty of the victim. This contrasting roles and the abuse of power is not only true in this case, but also in any case of oppression. I believe that a monologue about the violation of human rights is a powerful way to communicate the themes of abuse, indifference and injustice. These theatrical pieces give voice to the victims and, also, the by-standers. Additionally, they are a form of catharsis for these people who are condemned to silence by their oppressors.
In relation of the play we are studying in Theater Arts, "Lysistrata" this monologue also gives voice to the point of view that usually does not have the right to talk. Victims, either of patriarchies, wars or bullying, are those who remain quiet in the dark. Theater allows them to speak and protest or simply share their perspective to raise awareness or cause a reaction from the audience. Like the women in "Lysistrata", Jozef is also a victim of injustice. Dissimilar to Aristophane's style, however, this monologue has a grave and dramatic tone.
Jozef: It is September 21st of 1939: the Germans attacked Poland twenty days ago. Bombs have invaded the blue skies and the tension created by this uncertain war is tangible. We are not save anymore, threat is our shadow, and I am beginning to think we will never be save again. I don’t feel free in the streets anymore; the thought of their eyes watching me as I pace punctures my skull. They have invaded us – our streets, our thoughts, our rights… we belong to them.
Today I had to go out; my mom asked me to visit my grandfather. Near the patio I bumped into a German soldier and an old Jewish man. The soldier was yanking the frail man by his white beard. He threw him to the floor and spit on him. The somber and resigned look on the old man’s face paralyzed my muscles; I just stood there and I watched as the German soldier amused himself with the suffering of a Jewish. He got his bayonet and attempted to cut his beard with the bayonet. The fury in his eyes and the ferocity of his movements made me shiver. He continued moving the bayonet against the man’s beard back and forth, back and forth, back and forth. (Pause)
You cannot cut a beard with a bayonet.
(Pause)
The soldier placed his boot on the old man’s face and pressed it against the floor the way you step on a filthy cockroach.
The soldier gazed at the insect lying beneath the sole of this shoe. I gazed at the human lying beneath the apathy of oppression… And I could only think, he could’ve been my grandfather.
This is a very moving piece Alessa.
ReplyDeleteYou are a strong writer, something that will certainly come in handy while writing your assessments! Nice work.
I don't understand the last sentence. Isn't this in your grandfather's voice already?
Consider Aristotle's dramatic plotline ark. Does this monologue fit tightly into this? How can you dramatize the climax in a further horrifying way to illustrate the conditions of the time?
Well done.
Thank you!
ReplyDeleteThe last sentence refers back to the beginning of the monologue when the character expresses, "my mom asked me to visit my grandfather". I thought it would be impacting to have my character think back to his grandfather. Like this man, his grandfather is also Jew, meaning that he could also be a victim of oppression. But if it's confusing I could clarify it or simply delete it.
Also, I am going to change the character. When we were doing the activity in class in which we had to embody our characters I could not act as my grandfather (José) and decided that I could be someone else who could've witnessed oppression during WWII. As you said, one has to have something of themselves in their character to interpret it in a more credible manner and also to connect to the piece. For this reason and for the fact that I look like a girl, I have decided to make my character a female who witnessed this outbreak of injustice and violation to human rights.
On another note, I started thinking about Aristotle's dramatic plotline ark, which you shared with us in one of our classes. According to Aristotle, a whole always has a beginning, a middle and an end. In reference to the monologue I created, I believe that it lacks a middle; perhaps a turning point that accentuates the dramatic aspect of war. AS As Aristotle's, I believe that my monologue gives more importance to the plot than to the character (which is one of the reasons it would be easy to change the sex of the character and even its essence). My monologue is not psychologically based nor does it provide an insight on the character. It rather tells a horrifying event. Still, it lacks that dramatic element. Even though the story is tragic, the character is somehow detached from it because it is not happening to him or anyone he is close to. Perhaps this is far-fetched and irrelevant, but the story could have a twist: when the girl gets closer to the horrible scene she discovers that the man is her grandfather. This could cause a reaction in her - it could either paralyze her or motion her to react. This could give another outcome to the monologue, since it suddenly becomes personal. The character would be related to the tragedy and, therefore, would become also a victim of it. Perhaps adding more descriptions about the feeling and the oppressive atmosphere could also enhance the monologue.
What do you think?
I see what you're saying here.
ReplyDeleteWhy not be yourself in your monologue? Write/act from your perspective? Creative Nonfiction style. This will make it easier to add the "dramatic" element as well, I think. Simply consider what was the most dramatic for you, upon hearing this story.