Unrealistic Elements In Reed's The C Above High C

Unrealistic Elements in Reed's The C Above C Above High C

This essay should be a word essay focusing on the plays we have read in Weeks 5 and 6. It is due at the end of Week 6. This should be a close reading essay, and should use as evidence mostly passages from the play that you discuss. While it is fine to do a little background reading on the history related to the play you're writing on, this should use evidence mostly passages from the play that you discuss. If you need to bring in historical context at all, do your best to limit the context to "common knowledge" information (information that appears in more than 4 sources, and might have appeared in newspapers at the time, for instance).

Try to avoid using ANY outside sources unless you discuss with the instructor first. If you do use sources, make sure to cite them if you quote or paraphrase them, even if you are quoting or paraphrasing common knowledge information. The essay should be in MLA essay format and should have the student/teacher cover letter as the first page. See this document for the cover letter questions and final draft checklist, and the sample essay for an example of an MLA formatted essay. The essay grading rubric can be found here.

This topic and write a thesis-driven essay in response to the topic chosen below: Unrealistic Elements in Reed's The C Above C Above High C: Ishmael Reed's The C Above C Above High C is full of unrealistic elements--inserted scenes, superimposed characters, slide images as backdrops--that can be confusing, especially when one is reading the play. Pick 1 scene that makes use of unrealistic elements, and create an argument about how the use of that element affect the scene. Why do you think Reed made the choice to write the scene using unrealistic elements instead of writing it in a more realistic way? Do unrealistic elements open up specific possibilities that would not be available in a more realistic play?

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In Ishmael Reed's play The C Above C Above High C, the use of unrealistic elements such as superimposed characters, inserted scenes, and slide images serves as a deliberate artistic choice that enhances the thematic complexity and narrative ambiguity of the work. Focusing on one particular scene—the scene where sliding images are used as backdrops—reveals how these elements influence the audience's perception and understanding of the play’s overarching messages. This analysis will explore how Reed's employment of unrealism not only accentuates the play’s themes but also creates a space for multiple interpretations, which would be less accessible in a more traditional, realistic theatrical presentation.

One scene that vividly demonstrates Reed's use of unreal elements is the scene where visual slide images are projected behind the characters. This scene, typically set in a classroom or educational setting, employs these images as a backdrop rather than a literal environment. The slide images range from abstract patterns to political figures, and their superimposition creates a layered visual effect that challenges the audience's expectations of realism. This technique shifts the scene from a straightforward narrative to a visually dynamic tableau, emphasizing the performative and subjective nature of history and knowledge.

The use of slide images in this scene functions as a symbolic overlay—an indication that history, culture, and identity are layered constructs rather than fixed truths. By integrating visual images that are not limited to the physical space of the stage, Reed underscores the idea that socio-political realities are mediated through images and perceptions. The unreal element—animated or changing slides—serves to disrupt conventional storytelling and invites viewers to question the authenticity and authority of the "truths" being presented. In this way, the unrealist approach transforms a simple pedagogical scene into a commentary on the representational nature of history and memory.

Reed's deliberate choice to include such unreal elements instead of sticking to a more realistic depiction is rooted in his broader artistic objectives. Realism, while effective in portraying ordinary human experiences, can often restrain the expressive potential of a play by confining it within the literal. Reed, known for his experimental and polyphonic style, employs unreal techniques to open up multiple interpretative avenues—allowing audiences to see beyond the surface and engage with the complex layering of cultural narratives. The superimposed images, for example, embody the multifaceted nature of African-American identity and history, which cannot be confined to a linear or purely realistic representation.

Furthermore, unreal elements such as inserted scenes or superimposed characters serve to break the illusion of a singular authoritative perspective. This fragmentation mirrors the multifarious voices and histories that Reed aims to highlight, emphasizing that knowledge and history are subjective and constructed through various interpretations. The theatricality, therefore, becomes a means of empowering the audience to think critically about the sources and constructions of cultural knowledge.

From a broader theatrical perspective, unreal elements like slide images unlock creative possibilities for visual storytelling that are impossible within the constraints of realism. They facilitate a poetic or symbolic resonance that speaks directly to the subconscious or emotional layers of viewers. This technique aligns with avant-garde traditions that challenge normative constructs and stimulate a more active engagement with the performance. Reed's use of visual superimposition, in particular, echoes the influence of multimedia art forms, which expand the expressive potential of theatre to include visual and auditory collage.

In conclusion, Reed’s utilization of unreal elements such as slide images significantly impacts the scene’s meaning by emphasizing the layered, constructed nature of reality and history. These techniques serve as artistic devices that challenge conventional storytelling, providing a space for critical reflection on cultural and historical narratives. Reed’s choices demonstrate that unreal elements are not mere aesthetic gimmicks but essential tools that open new possibilities for meaning-making in theatre, especially for plays dealing with complex themes of identity, memory, and history.

References

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