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    King Hedley II Test

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    Ellie C
    The document discusses how the director of the play King Hedley II used spatial staging to reinforce Stool Pigeon's distinct religious disposition compared to the other characters. Specifically, Stool Pigeon was given half of the stage for his house while the other characters shared the other half. Over time, Stool Pigeon slowly moves inward towards the group of characters as he begins to combine Yoruban and African culture into his religious teachings, culminating with him praying over the body of King in the center of the stage.

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    King Hedley II Test

    Uploaded by

    Ellie C
    49 views2 pages
    The document discusses how the director of the play King Hedley II used spatial staging to reinforce Stool Pigeon's distinct religious disposition compared to the other characters. Specifically, Stool Pigeon was given half of the stage for his house while the other characters shared the other half. Over time, Stool Pigeon slowly moves inward towards the group of characters as he begins to combine Yoruban and African culture into his religious teachings, culminating with him praying over the body of King in the center of the stage.

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    King Hedley

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    The document discusses how the director of the play King Hedley II used spatial staging to reinforce Stool Pigeon's distinct religious disposition compared to the other characters. Specifically, Stool Pigeon was given half of the stage for his house while the other characters shared the other half. Over time, Stool Pigeon slowly moves inward towards the group of characters as he begins to combine Yoruban and African culture into his religious teachings, culminating with him praying over the body of King in the center of the stage.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    49 views2 pages

    King Hedley II Test

    Uploaded by

    Ellie C
    The document discusses how the director of the play King Hedley II used spatial staging to reinforce Stool Pigeon's distinct religious disposition compared to the other characters. Specifically, Stool Pigeon was given half of the stage for his house while the other characters shared the other half. Over time, Stool Pigeon slowly moves inward towards the group of characters as he begins to combine Yoruban and African culture into his religious teachings, culminating with him praying over the body of King in the center of the stage.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 2

    Elizabeth Crawford

    Professor Tocantins

    TA 207

    10 October 2019

    King Hedley II Test

    As I watched King Hedley II, my eyes couldn’t help but focus on Stool Pigeon. His

    religious disposition and humor set him apart from the depressed and lonely people in his

    neighborhood. While this distinction was notable in the text, the director’s active choice to

    separate Stool Pigeon spatially from his neighbors on the stage greatly reinforced this idea.

    In designing the set, the audience picks up from the beginning that there is a distinct

    separation between Stool Pigeon’s house and the residence of the other characters. By giving

    Stool Pigeon an entire half of the stage while the “main characters” all share the other half, it

    battles the idea that Stool Pigeon is just the town crazy man. The director and scenic design

    head’s choices to present this man as an equal and not as one who is pushed in the corner, there

    is an act of compensation occurring. Though Stool Pigeon plays important roles in the play, his

    argument and missions are amplified by creating a raised platform on which his house of

    newspapers stand.

    Furthermore, he is consistently staged to be separated from these other characters in the

    beginning of the play but slowly works towards them. However, after Aunt Esther dies, the

    audience watches as he slowly works his way inward towards the group. This is fascinating

    because at that very time, Stool Pigeon begins to combine Yoruban and African culture into his
    religious teaching. In the Yoruban faith, leaders descend from authority more than Christianity to

    take on a role in the community rather than a preaching or storytelling position. In the end, as he

    prays over the body of King, the audience sees him in the heart of the trouble where he lays a

    hand on his fallen friend’s chest and calls to God. This action of centering himself and still

    calling to God is the combining of the two cultures, formulating a new one on its own.

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