A Critique on Purlie

The original Pearly attacked Broadway on March 15, 1970. After 36 years, its charm and loving atmosphere fascinated all audiences including the audience of the Spellman Theater. On March 23, 2006, I saw the success of various elements of performance. In terms of performance, performers can tell the emotions they need. However, some characters such as Ol'Cap'n played by Dick Lambert and Luttibelle played by April Curry seem to be deeply involved in their role over other characters.

In front of The Wiz there were all black musicals (Purlie, Raisin, and Pearl Bailey's Hello, Dolly!). Congratulation culture puts it in another class and poses a problem: If the theater company can not stick to the original basic concept completely, should the theaters company do the same? ARTS delicately puts African-Americans in all the protagonists, but supporting orchestras are obviously mixed. It gives critics clear and complex emotions. I like to feel uneasy about the program that provides an underestimated star and respects the black culture expressed by people outside of the experience.

The main work of feminist theology as liberation theology is to criticize repressors, repressive systems, culture, politics, especially African-American women. However, criticism must start with a specific norm, hypothesis standard, or prototype of hypothesis, so all criticism must be derivatives of exclusive language. In other words, when a feminist theologist criticizes an object, there must be a biased (or biased) norm, standard, or prototype that allows her criticism. Inevitably, certain things and certain people are excluded from her norms, standards, prototypes, but others are included. It is this standard, standard, or prototype that makes a comprehensive language impossible. This is common when feminist theologists discuss ethical issues.