Disgraced: A Play About Faith, Family, and the Politics of Both | The Takeaway | WNYC Studios
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The latter, however, is almost entirely manifested in the character of Cate and her perception of the world around her, which changes dramatically after Ian's rape on her. At the beginning, the scenery appears pretty lovely if one ignores the obviously disharmonious relationship between the two protagonists. It is emphasised that the room contains flowers — a symbol of love and harmony — and a double bed, which might pretend a focus on love and togetherness.
From then on, also the language and the scenery become more and more fragmented.
Body of Faith
The character of Cate corresponds pretty well to the environment as it is depicted before the rape, since she seems to be the personification of infantile artlessness and love for almost everything and everyone, despite Ian. The young woman talks a lot about her family, including her apparently mentally disabled brother and her mother, who she does not want to leave, and it becomes clear that family love is an important issue for her.
Furthermore, Cate also loves animals and therefore is a vegetarian, which Ian — of course — mocks. As already mentioned, Ian seems to be the only being on earth Cate does not really love. However, despite Cate's non-existing romantic feelings, she accompanies him to this hotel because he is unhappy and might need her. This can be read as a hint at the woman's strong love, not in Ian as a person but in humankind in general, which in turn is an important part of Christianity and therefore connects Cate with the unalterable faith and hope her character adds to the play.
Richard C. McCoy
This becomes apparent in mainly two points: her unbreakable hope that everything will have a positive ending, including death, and her faith in the good side in everyone, including Ian, who does in fact not show a lot of kindness towards Cate in the entire play. The woman's strong faith in a good ending is of a religious nature but is also transferred into non-religious issues. Add to cart. Table of Contents 1 Introduction Quoted on Aleks Sierz' website, which is titled like his print work in-yer-face-theatre, Artaud describes his idea of theatre as follows: The theatre will never find itself again except by furnishing the spectator with the truthful precipitates of dreams, in which his taste for crime, his erotic obsessions, his savagery, his chimeras, his utopian sense of life and matter, even his cannibalism, pour out on a level not counterfeit and illusory, but interior.
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