Angels in America

If we were to imagine w lid destruction is like, how would any whizz of us portray it? Would our portrayals be as catastrophic and devastating as the word means? It depends on the psyche who imagines it. Now, if we were to imagine destruction from a psychological perspective this whitethorn be entirely different for each person. Why this would be the case is belike because of the unique personalities that each one of us has. Some of us may not be able to bear the uncertainties that destruction could bring into the innovation, hence, fearing it. Others may just ignore the details of chaos and cash in ones chips on with their ignorant, nonoperational lives.Then, there is the remaining portion of us who know the bigger fit of destruction and ar take toful to change the world from the aftermath of it. In a similar perspective, these comparable portraits of characteristics correlate to one of the unique themes of Tony Kuskners fulfil, Angels in America individuation. In this th eme, the identities of the characters in the play symbolize emotions of ambivalence, the dieless views of the braw community, and the hope for change in the chaotic era of the mid-eighties American society. Kushner subtly arrives Harpers character to represent the unsure emotions of the American society in the 1980s.As a character pitiful from psychological problems, Harpers personality is rattling complex. In one bizarre aspect of the play, shes having an interesting conversation with one of her hallucinations, Mr. Lies, to prove her constructive, yet imaginative, plans to live a new life in Antarctica. art object in a counter-perceptive view, Harper feels uncertain and fearful to move push through and through off anywhere because of the paranormal threats that shes worry rough. A homophile with a knife that she speaks of is one of those dangers that she is strangely concerned about (Millennium Approaches 24).The miscellanea of ambivalence and fear that Harpers indi viduality carries in Kushners play somehow depicts the apocalyptic anxiety that is happening in the joined States in the 1980s (Garner, Jr. 2). The escalation of this catastrophic concern is reinforced by economic crisis, ecological disaster, overpopulation, the help epidemic, and the fall of European communism at the time (Garner, Jr. 2). In addition to all this build-up of chaotic events in the country, people begin to dread the nuclear annihilations that could potentially commence during the postwar moments of the Cold War.In order to draw out the peoples sense of fear and uncertainty over the destructive events in the 1980s, Kushner tries to convey it through Harpers paranormal concern of the ozone mould. After she explains to herself how the ozone layer is a kind of gift, from God, Harper then says, But everywhere, things are collapsing, lies surfacing, systems of defense giving away. . . . This is why, Joe, this is why I shouldnt be remaining alone (Millennium Approaches 17 ).Her ambivalent concern on the total deconstruction of the world correlates to Americans Cold War anxiety on the possible nuclear threats in the 1980s (Garner, Jr. 3). By illustrating Harpers complex identity in the play, Kushner is able to portray the types of ambivalent emotions (fear, terror, and uncertainty) that people matt-up in the destructive events of history at that time period. As imaginative and rook as this drama is, Kushner portrays the stagnant identity of Roy Cohn in his play to figuratively allude the inert views of the gay community in the 80s society of America.In his playwright notes, Kushner briefly explains how he furbish ups use of the real Roy Cohns attributions in history to develop his fictitious Roy in his play. Based on what Roy has through with(p) in the past, his illegal maneuvers during the trial of Ethel Rosenberg make his overall identity distrustful and egotistic. Ideally, Kushner effectively make use of these two traits in his version of Roy. In a similar perspective, the fictional Roy knows how to get his way in almost anything throughout the story because of his possession of clout in society (Millennium Approaches 45).He emphasizes his powerful stature by telling his doctor, I can survival of the fittest up this phone, punch fifteen numbers and in under basketball team minutes, he can reach the First Lady on the other end of the phone line (Millennium Approaches 45). In this scene, Roy reasons with Henry about his sociable image as a heterosexual lawyer in New York. If his original diagnosis of AIDS has caught news to the media, then Roys static identity will be destroyed. Yet, Kushner doesnt convey this. Instead, Roy says, AIDS is what homosexuals gravel. I have liver cancer to convince Henry hat he must maintain his appealing status for the public (Millennium Approaches 46).Ideally, Roy has no intention to reveal his homosexual self, nor does he show any munificence for gays. His biased statement, Homosexuals are men who know nobody and who nobody knows. Who have zero clout. intriguingly portrays his psychological denial of his true identity (Millennium Approaches 45). The selfish zest of social redemption that Roy is struggling to fulfill represents the disturbing symptoms of the larger finiss inauthentic response to suffering that Kushner is trying to convey in his play (Omer-Shaman 11).Symbolically, Kushner illustrates Roys static identity of social redemption in order to depict the general publics unchanging perspectives against the gay community in the 80s society of America. Interestingly, forwards enduring identity in Kushners play represent the hope for change in the American society at the time. Kushner makes formers character very apparent and symbolic to his readers he is a homosexual who is diagnosed with the AIDS at this particular time period perhaps its a diachronic reference in Kushners part.At some parts of his play, Kushner descriptively portrays precedings bloo dy wounds and entrails of his tormenting disease to represent signal moments of Christian redemption in the latter story of the drama introductorys meetings with the Angels (Ogden 6). Similarly, as one critic depicts, the blood lesions that Prior suffers through creates a slight correlation to Christ bleeding wounds and pains from a biblical viewpoint (Ogden 6). How these religious connections tie in with Priors enduring personality starts by his own fantasy with the Angel in his apartment.Unlike Roys character, Prior openly says, I can plow pressure, I am a gay man and I am used to pressure, to trouble, I am tough and slopped, as he bravely calms himself in the mist of the heavenly circumstances (Millennium Approaches 117). Ideally, this scene of the play does not only depict how brave Prior is, but also how strong and confident Prior is to reveal his true self. Furthermore, the fact that he says, I am used to pressure, depicts his enduring identity to overcome the social pre ssures he has as a homosexual.Similarly, Kushner conveys this familiar perspective of Priors in his last meeting with the Angel in heaven. In this scene, Prior rejects the Angels prophet of stasis in the final scenes of the drama. He tells the Angel, We live past hope. If I can find hope anywhere, thats it, thats the best I can do Bless me anyway. I privation more life. to conclude his declination as he exits heaven (Perestroika 133). What Prior says to the Angel as he leaves heaven is ironic to what he has been through in the whole play.Despite how much he has suffered from his tragic life, Priors enduring soul still wants more life to basically hope for better things to come in the world as it continues to gyrate forward (Perestroika 133). Remarkably, Kushner utilizes Priors enduring soul to symbolize the hope for change in America during the chaotic messes within 80s society. Although the characters personalities portray an abstractive and imaginative perspective in the play, Kushner subtly make use of this unique aspect to correlate the realistic concepts conveyed in his plays theme of identity.In general, the dialogues in play may sound a bit fantasized even strange. Yet somehow, Kushner is able to connect his fictional characters lives in his play to the lives of the 1980s society of America. Because of this ironic and interesting similarity between fiction and human race, Kushner is able to express the real, dramatic emotions that are felt during that time in history. By capturing the historical events and moments of the 1980s, Kushner subtly reveals the sense of reality of his drama through the surreal identities of his characters.