અનામત થય

The

Living Arts

by Sheila Smith Hobson

The Van Peebles Debate: Up to now this column has managed to stay pretty much out of the debate about the talents and works of Melvin Van Peebles, who is undoubtedly, as far as the arts are concerned, a true renaissance man (see TUESDAY, June 1971, for Charles Hobson's review of Sweetback). Van Peebles is one of the most stunning talents (Black or White) to come on the American artistic scene in the last three years. As writer, director, producer, composer, he has managed to build a charismatic and mythic aura around his work and personality in a way that not many other artists

in recent memory have done. Van Peebles has also managed to stimulate through his works and personal viewpoints much controversy. For instance, critics and moviegoers alike have pondered how the man who produced, directed and wrote Sweetback could also be responsible for directing a film like Watermelon Man. Now the prodigiously talented and prolific Mr. Van Peebles has a play on BroadwayAin't Supposed to Die a Natural Death. The meaning of its title shouldn't be too incomprehensible since Afro-Americans have had a 400-year struggle to achieve the opportunity to live a natural life. The characters-or, to be more accurate, the people-in Van Peebles' play don't expect to die a natural death or, in fact, to live a natural life. They know that if bone-breaking work won't get them, some form of abuse or suffering will.

The play's opening "song" (it is difficult to call this play a musical, because everything just seems to happen spontaneously, without elaborate lead-ins, and the total effect is one of acute reality in which related and unrelated episodes unfold on the street

and almost simultaneously inside buildings, bars and even a prison cell) is entitled, "Just Don't Make No Sense (the way my corns are hurting me)." And the scenes and moods of all that is to follow are set. In this number we see a man returning from work. As he hobbles down the street he complains about his foot trouble and the universal plight of all who find themselves passed-by by "public" transportation vehicles (be they taxis or buses) after putting in a harder-than-normal day's work. One finds oneself in total agreement, "it sure don't make no sense.

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The next scene, "Coolest Place in Town," finds a young woman on a fire escape. She is leaning far over the railing and an overzealous and uncertain policeman is entreating her to come down. In no uncertain terms, she informs him that, “I ain't jumping, I'm just trying to catch the breeze." It becomes obvious to the audience that the woman would like to jump but that she will not, because in itself that would be anti-climactic after what life has already brought her, and if she hasn't "jumped" after 400 years, she never will.

Van Peebles has often been attacked and maligned for his portrayal of Black people (especially women). Sweetback and Ain't Supposed both deal with people who are totally trapped by society. These people have found their outlets through the "underworld" of the Black community, and Van Peebles deals with the fact that when life is put in terms of pure survival, people will and, perhaps, must do all and anything in order to survive. However, the realization that this basic theme may be true does not soften the hurt and shock for members of the audience when they are faced with lives (which could be theirs) that have seen no light and never will.

I am not clear about where Van Peebles is personally coming from, especially in his handling of Black women. It would appear from his works that he conceives of them as cynical, hard and lacking in warmth. The fact that they are exploited by their own men doesn't seem to faze Van Peebles. Is he saying, "Serves them right"? I really don't know, but it is a question that needs to be answered. Admittedly, an artist has the right to present his view of people or life, but he also has the obligation to label carefully all such views as "iny opinion." Because of his talent and force I fear that some of Van Peebles opinions are too readily ac-

cepted as fact. This is too bad-for Mr. Van Peebles and for his audiences. Certainly, it detracts from his work.

The episode, "Sera Sera Jim,” is a case in point. In this striking scene, a young barmaid states her rather listless views on life. Sera, sera (what will be, will be) is her continuing cry. The defeatism, fatalism and lack of belief that life can bring any good, as intoned by this woman, is demoralizing. While it is true that some will agree with her view, it is also true that others (especially the young) will feel that there has been too much sera, sera.

But despite the disagreements one may have with Van Peebles' approach and personal opinion, one also must give credit where it is due. He understands the contradictions in the minds and personalities of his characters, and the fact that there are some people who thrive on abuse. He also is brilliant in his handling of "unpopular" subjects such as homosexuality. One of the most pathetic but telling scenes in the play is "Catch That on the Corner." A blind man stands near a street corner as a homosexual "queen" goes by. The blind man is convinced that a beautiful woman, who is interested in him, has just passed, and he raps to a "friend" about how he is going to change his life and get it all to gether for the sake of this lovely lady. Finally, he asks that his friend describe to him how the woman looks. The friend is literally speechless; he just doesn't know how to tell the poor blind man that "that was no lady" and walks away, leaving the blind man to the happier devices of his mind's eye.

The final scene, and one that sticks in the memory, is "Put a Curse on You." A not-so-crazy female ragpicker turns toward the audience and puts her own individual curse on them... that the onlookers should have the plethora of tragic experiences that have been hers. The effect is both spellbinding and disturbing, for then and only then do we realize that we "ain't supposed to die a natural death” either and, moreover, that we won't until we all commit ourselves to the resolution of the problems that the play presents.

Ain't Supposed to Die a Natural Death is an evening in and of the author's personal perspective. Whether one agrees or disagrees with all of the viewpoints expressed, one knows that we must deal honestly with them all. I