Funnyhouse of a Negro | No Place but the Funnyhouse: The Struggle for Identity in Three Adrienne Kennedy Plays
In the following essay, Meigs treats Sarah’s
multiple selves as masks that represent an imprisonment
that keeps Sarah, like many African-American
women, from having the power ‘‘to resolve the
chaotic elements of their black female identities.’’
I know no places. That is I cannot believe in places. To believe in places is to know hope and to know the emotion of hope is to know beauty. It links us across a horizon and connects us to the world. I find there are no places only my funnyhouse —Adrienne Kennedy, Funnyhouse of a Negro
In 1960, while dramatists were forging a rhetoric of black theater from the emerging black power movement, twenty-nine-year-old Adrienne Kennedy travelled to Africa with her husband and son. The trip would prove to be the catalyst for her career as one of...
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