STEVE TESICH’S ON THE OPEN ROAD AND NAOMI WALLACE’S THINGS OF DRY HOURS AS DISCOURSES ON ART AND FREEDOM

Abstract

Through the analysis of Steve Tesich’s and Naomi Wallace’s dramatic masterpieces On the Open Road (1992) and Things of Dry Hours (2007), respectively, the paper strives to examine the dramatists’ insights into the role of art and theatre within the context of the contemporary artistic landscape and the societal ethos. Tesich and Wallace, both acclaimed as engaged and dissenting writers, envision theatre as a hallowed space for social and imaginative metamorphosis. They challenge the prevailing cultural norms and values, serving as beacons of resistance against dehumanizing practices that have taken root in modern society, often perpetuated by capitalist regimes. In this light, the paper underscores the seminal importance of their artistic contributions, which delve into the disintegration of art’s societal significance, the pervasiveness of societal apathy, the absurdity of warfare, and the overarching influence of organized religion. Within the framework of On the Open Road, Steve Tesich poignantly underscores the dwindling influence of art in a dystopian world where it has been commodified. The characters Al and Angel grapple with a post-apocalyptic society fragmented into distinct factions under the dominion of potent entities. Art, once the source of profound inspiration, is relegated to the status of a mere bargaining chip. Tesich contemplates the devaluation of art appreciation, underscoring the dire need to fathom art, rather than merely rationalize it. He cogently argues that this transformative paradigm poses an existential threat to humanity and its moral underpinnings. However, amid the bleak future depicted, the play offers a glimmer of hope - the restoration of human nature through acts of love devoid of ulterior motives. In a parallel vein, Naomi Wallace’s Things of Dry Hours is distinctly situated in the early 1930s Alabama, a locale that encapsulates myriad sociopolitical nuances. The play unfolds as an intricate tapestry of themes encompassing race, class, and political turmoil. The characters, notably Tice Hogan, his daughter Cali, and the enigmatic Corbin Teel, confront the divisive aspects of racial privilege and economic disparities. The dramatic narrative adroitly negotiates the interplay between Christian religiosity and the tenets of Communism. Concurrently, Wallace delves into the ineffable dimensions of spiritual desolation, perceptibly etched into the characters’ existential identities. The characters undergo a transformative journey, awakening dormant desires and rekindling hope for social transformation and a more meaningful existence.