Fefu And Her Friends Analysis

My analytical skills will be applied to part III of Maria Irene Fornes’ Fefu and Her Friends’s from pages 43 to 61 and how the actions and moments beat by beat shape our experience on both, an emotional and intellectual level. This play is a combination of Chekhovian realism combined with Brecht’s approach of giving out information in the title, though she manipulates their style of writing in her own manner. This play was a 1930s occurrence – ‘sufferage’ where women got the right to vote and Fornes’ aim was to make the audience experience the world of females without the influence, in absence of the presence of men. Fornes’ approach to play write, from the very beginning of making a clear political or social agenda collective with that of Julia’s mysterious death at the very end of the play eliminates the possibility of a clear interpretation. In light of these difficulties, I will break down the sequence of events in part III and the connecting events of the parts prior to it, and focus on the relationship between text and performance. In Fefu and Her Friends the narrative and performative texts create a dialectical tension, which highlights the play’s

Cecilia begins the final section of the play by explicitly voicing the hidden, underlined concern of the play:
“We must be part of a community, perhaps 10, 100, 1000. It depends on how strong you are. … A common denominator must be reached. Thoughts, emotions that fit all, have to be limited to a small number. That is, I feel the concern of the educator—to teach how to be sensitive to the differences in ourselves as well as outside ourselves … Otherwise the unusual in us will perish. As we grow we feel we are strange and fear any thought that is not shared with