Cecilia H. C. Liu

John Guare (b. John Guare (b.

1938)1938)  Six Degrees of Six Degrees of

SeparationSeparation (1993)(1993)

   

Self-identitySelf-identityGenderGenderRaceRaceSocietySociety

Cecilia H. C. Liu

OutlineOutline About the About the authorauthor SynopsisSynopsis TitleTitle CharactersCharacters ThemesThemes Literary AllusionsLiterary Allusions Discussion QuestionsDiscussion Questions Works CitedWorks Cited

Cecilia H. C. Liu

John Guare (b. 1938)John Guare (b. 1938)

Guare's freewheeling, satirical plays are the Guare's freewheeling, satirical plays are the antithesis of “kitchen sink” naturalism, with antithesis of “kitchen sink” naturalism, with darkly comic situations sometimes veering into darkly comic situations sometimes veering into violence. Frequently dealing with family violence. Frequently dealing with family relationships and people seeking escape from relationships and people seeking escape from their daily lives, they flout dramatic conventions their daily lives, they flout dramatic conventions with such devices as monologues, asides, songs, with such devices as monologues, asides, songs, and pantomime. and pantomime.

Six Degrees of SeparationSix Degrees of Separation, produced by the , produced by the Lincoln Center Theater, won the 1990 New York Lincoln Center Theater, won the 1990 New York Drama Critics Circle Award, the Hull-Warriner Drama Critics Circle Award, the Hull-Warriner Award and the Obie Award as Best Play.Award and the Obie Award as Best Play.

Cecilia H. C. Liu

SynopsisSynopsis Manhattan art dealers Ouisa and Flan Manhattan art dealers Ouisa and Flan

Kittredge open their gilded penthouse doors Kittredge open their gilded penthouse doors to Paul, a charismatic young man who’s to Paul, a charismatic young man who’s been stabbed and mugged in Central Park. been stabbed and mugged in Central Park. Claiming to be a friend of their children — Claiming to be a friend of their children — and the son of Sidney Poitier – Paul and the son of Sidney Poitier – Paul enchants his hosts with intoxicating stories enchants his hosts with intoxicating stories and tantalizing gourmet dishes. But as and tantalizing gourmet dishes. But as Paul’s web of dropped names and near fame Paul’s web of dropped names and near fame begins to unravel, he provides his hosts with begins to unravel, he provides his hosts with much more than just the ultimate anecdote much more than just the ultimate anecdote for good cocktail conversation–he sets in for good cocktail conversation–he sets in motion a series of events that will alter the motion a series of events that will alter the course of their lives forever.course of their lives forever.

Cecilia H. C. Liu

The titleThe title““Six Degrees of Separation” is the unproven Six Degrees of Separation” is the unproven

theory that anyone on the planet can be theory that anyone on the planet can be connected to any other person on the connected to any other person on the planet through a chain of acquaintances planet through a chain of acquaintances that has no more than five intermediaries.that has no more than five intermediaries.

The title is meant to suggest that The title is meant to suggest that everyone on the planet is linked to everyone on the planet is linked to everyone else by a chain of acquaintances everyone else by a chain of acquaintances no more than six people long -- a notion no more than six people long -- a notion plausible only to a socialite living on the plausible only to a socialite living on the Upper East Side. Upper East Side.

Guare expounds upon the uses of the Guare expounds upon the uses of the imagination, liberal hypocrisy and even imagination, liberal hypocrisy and even the violent subtext of the violent subtext of The Catcher in the The Catcher in the RyeRye..

Cecilia H. C. Liu

Flan KittredgeFlan Kittredge Flan Kittredge: an art broker Flan Kittredge: an art broker

who puts together ad hoc who puts together ad hoc partnerships to buy second-tier partnerships to buy second-tier works by modern masters works by modern masters (Cézanne, Matisse) that he (Cézanne, Matisse) that he quickly resells, to the Japanese quickly resells, to the Japanese currently, in order to realize currently, in order to realize huge profits, all without putting huge profits, all without putting up any money himself. up any money himself.

Cecilia H. C. Liu

Ouisa KittredgeOuisa Kittredge Ouisa is charming and imaginative and self-aware,

yet still in need of redemption. And she’s capable of redemption.

Ouisa is the focus because she’s despondent about the lack of meaningful structure in her life. She sees herself as "a collage of unaccounted-for brush strokes," "all random," and when Flan declares himself a gamesman she says, "We’re a terrible match," before, in the movie, walking out on his latest pitch at a society matron’s luncheon. (She walks out of the luncheon though not necessarily out of his life, but still, Flan is more of a Torvald than any other character in Guare’s plays.) At the climax Guare gives Ouisa a speech about not becoming "human jukeboxes spilling out these anecdotes" as she and Flan have been for the entire length of the play, and that speech does state something like the kernel of the playwright’s intended meaning.

Cecilia H. C. Liu

The Secondary Art The Secondary Art MarketMarket

The KittredgesThe Kittredges have three have three children away at school so they’re children away at school so they’re free to pursue Flan’s deals, which free to pursue Flan’s deals, which take them to society weddings and take them to society weddings and christenings, museum galas, christenings, museum galas, luncheons, and such. This luncheons, and such. This lucrative secondary art market has lucrative secondary art market has paid for a sumptuous lookout of paid for a sumptuous lookout of an apartment on New York’s upper an apartment on New York’s upper east side.east side.

Cecilia H. C. Liu

Paul Paul A gifted scoundrel, Paul soon wins over A gifted scoundrel, Paul soon wins over

the Kittredges by admiring their two-the Kittredges by admiring their two-sided Kandinsky. One side represents sided Kandinsky. One side represents chaos, the other control; the scene chaos, the other control; the scene determines which side is facing the room. determines which side is facing the room. Paul then wangles an invitation to stay Paul then wangles an invitation to stay overnight after he whips up a gourmet overnight after he whips up a gourmet dinner for the Kittredges and their guest, dinner for the Kittredges and their guest, a South African financier, who is so a South African financier, who is so impressed with the young man that he impressed with the young man that he starts planning an Afro-American film starts planning an Afro-American film festival on the spot. festival on the spot.

Cecilia H. C. Liu

Paul’s RolePaul’s Role A Connector—humanity/human conditionA Connector—humanity/human condition

It is Paul who connects the six right It is Paul who connects the six right people together. He is the one who leads people together. He is the one who leads them to look into their own family, and them to look into their own family, and urges them, by accident, to find their true urges them, by accident, to find their true and new selves. Paul unites six degrees of and new selves. Paul unites six degrees of separation.separation.

A Test: Paul functions as a test to all the A Test: Paul functions as a test to all the characters in the play/film.characters in the play/film. P People can be eople can be easily deceived by the charisma he easily deceived by the charisma he represents. However, Ouisa sees Paul as a represents. However, Ouisa sees Paul as a human, not just an anecdote, a case, an human, not just an anecdote, a case, an event “to dine out on” (Guare 117).event “to dine out on” (Guare 117).

Cecilia H. C. Liu

Actor and ActingActor and Acting An actor, Paul has no real identity. He can An actor, Paul has no real identity. He can

act anybody. Paul creates a whole new act anybody. Paul creates a whole new identity as a son of an artist who belongs identity as a son of an artist who belongs to the upper class for himself. And that is to the upper class for himself. And that is what most people want to become—what most people want to become—famous, educated, rich, with some famous, educated, rich, with some prestigious family background. prestigious family background.

Yet, those art dealers are not artists, and Yet, those art dealers are not artists, and they are fond of being a cat in the movie of they are fond of being a cat in the movie of CatsCats because this could make them feel because this could make them feel more like an artist (actor). more like an artist (actor).

Therefore, in a sense, they do have the Therefore, in a sense, they do have the same thought as Paul does, and Paul same thought as Paul does, and Paul becomes the person who could help them becomes the person who could help them fulfill their dreams.fulfill their dreams.    

Cecilia H. C. Liu

Themes:Themes:Interpersonal relationshipInterpersonal relationship

In In Six Degrees of SeparationSix Degrees of Separation, the interpersonal , the interpersonal relationship calls our attention, especially the relationship calls our attention, especially the relationships and the reactions between the main relationships and the reactions between the main character Paul and all the other characters. Paul character Paul and all the other characters. Paul is actually a con man from low class who tries to is actually a con man from low class who tries to forget his own identity, to get rid of his own forget his own identity, to get rid of his own miserable life, and to assume another imagined miserable life, and to assume another imagined identity. identity.

So ironic is that Paul whom they call a liar is the So ironic is that Paul whom they call a liar is the one who connects the six people together, but one who connects the six people together, but they are not sure if Paul really exists at all. So they are not sure if Paul really exists at all. So who/what is Paul?who/what is Paul?

Cecilia H. C. Liu

Themes:Themes:Painting and Colors—Art Painting and Colors—Art

and Lifeand Life Flan Kittredge has this dream about Flan Kittredge has this dream about

painting and colors (45-46). Potential painting and colors (45-46). Potential and creativity are very much embedded in and creativity are very much embedded in each individual being—such as in a childeach individual being—such as in a child—but when we grow up, we gradually lose —but when we grow up, we gradually lose our originality and creativity. Numbness, our originality and creativity. Numbness, indifference and spiritual paralysis by indifference and spiritual paralysis by and by grasp people in the materialistic and by grasp people in the materialistic society. There are at least two sides to society. There are at least two sides to view everything in our life. As the view everything in our life. As the double-sided Kandinsky painting shows, double-sided Kandinsky painting shows, examples of “chaos and control”—examples of “chaos and control”—originality and imitation, disorder and originality and imitation, disorder and form/structure, nightmare and dream—form/structure, nightmare and dream—can be found in our daily life experience. can be found in our daily life experience.

Cecilia H. C. Liu

Themes: Chaos, Control Themes: Chaos, Control Flan and Ouisa’s prize possession is a Flan and Ouisa’s prize possession is a

Kandinsky painted on both sides of the Kandinsky painted on both sides of the canvas, in contrasting styles, one "somber canvas, in contrasting styles, one "somber and geometric," as Flan points out, and and geometric," as Flan points out, and the other a wash of lines and shapes and the other a wash of lines and shapes and colors barely holding together in an colors barely holding together in an "image.“"image.“

Flan spins the painting for Geoffrey as Flan spins the painting for Geoffrey as Ouisa explains the connected meanings, Ouisa explains the connected meanings, "Chaos, control. Chaos, control," a turn of "Chaos, control. Chaos, control," a turn of phrase Guare wrote for the movie and phrase Guare wrote for the movie and which sums up the tension in the entire which sums up the tension in the entire piece.piece.

Cecilia H. C. Liu

Kandinsky’s Order and Kandinsky’s Order and Chaos Chaos (source(source))

Cecilia H. C. Liu

Chaos, ControlChaos, Control What Ouisa discovers by the end is that if What Ouisa discovers by the end is that if

the "control" that governs her life as the "control" that governs her life as Flan’s helpmeet can’t accommodate a Flan’s helpmeet can’t accommodate a random but intense incursion like Paul’s, random but intense incursion like Paul’s, then the control isn’t meaningful, and then the control isn’t meaningful, and thus isn’t control at all but chaos which thus isn’t control at all but chaos which passes for control by numbing her to the passes for control by numbing her to the reality of the life they’re leading. Paul reality of the life they’re leading. Paul opens Ouisa up to this awareness even as opens Ouisa up to this awareness even as he unintentionally but by the same means he unintentionally but by the same means drives a wedge between her and Flan. drives a wedge between her and Flan.

Cecilia H. C. Liu

Chaos, ControlChaos, Control Flan calls himself a gambler but can deal Flan calls himself a gambler but can deal

with uncertainty only as long as he’s with uncertainty only as long as he’s sure of the game he’s playing. The new sure of the game he’s playing. The new idea of control that Ouisa envisions idea of control that Ouisa envisions (training Paul as their apprentice, taking (training Paul as their apprentice, taking him permanently into their lives) seems him permanently into their lives) seems to Flan, stuck in their previous outlook, to Flan, stuck in their previous outlook, as itself a kind of chaos. And it isn’t a as itself a kind of chaos. And it isn’t a question of their needing to break question of their needing to break through class snobbery or racism, but, through class snobbery or racism, but, rather, rigidity and reluctance--the great rather, rigidity and reluctance--the great inhibitors of comedy. inhibitors of comedy.

Cecilia H. C. Liu

““God’s Gift—the God’s Gift—the Imagination” Imagination” Paul states:Paul states:

“ “……the imagination is the the imagination is the passport we create to take us passport we create to take us into the real world. I believe the into the real world. I believe the imagination is another phrase imagination is another phrase for what is most uniquely for what is most uniquely usus. …. …most of the time the faces we most of the time the faces we face are not the other guy’s but face are not the other guy’s but our own faces. And it’s the worst our own faces. And it’s the worst kind of yellowness to be so kind of yellowness to be so scared of yourself you put scared of yourself you put blindfolds on rather than deal blindfolds on rather than deal with yourself…. To face with yourself…. To face ourselves. That's the hard ourselves. That's the hard thing. The imagination. That’s thing. The imagination. That’s God's gift to make the act of God's gift to make the act of self-examination bearable.”self-examination bearable.” (34) (34)

Paul: The

imagination is the place 

we are all trying to get to.

Cecilia H. C. Liu

What imagination Paul What imagination Paul refers to?refers to?

Yet, what kind of imagination does Paul Yet, what kind of imagination does Paul mean? Does Paul “face” himself? What mean? Does Paul “face” himself? What has he done with “God’s gift”? In Paul’s has he done with “God’s gift”? In Paul’s talk, he also brings forth Holden in talk, he also brings forth Holden in CatcherCatcher in the Ryein the Rye. How is the novel related to the . How is the novel related to the action of the play? As Paul says in the play action of the play? As Paul says in the play that that Catcher in the RyeCatcher in the Rye is “a touching is “a touching story, comic because the boy wants to do so story, comic because the boy wants to do so much and can’t do anything. Hates all much and can’t do anything. Hates all phoniness and only lies to others. Wants phoniness and only lies to others. Wants everyone to like him, is only hateful, and is everyone to like him, is only hateful, and is completely self-involved” (Guare 32-33). completely self-involved” (Guare 32-33). How do you find this statement exactly How do you find this statement exactly pictures Paul himself? pictures Paul himself?

Cecilia H. C. Liu

hidden desire arousedhidden desire aroused Paul becomes increasingly absorbed by Paul becomes increasingly absorbed by

the role he plays, which leads to an the role he plays, which leads to an inappropriately lurid turn that includes inappropriately lurid turn that includes homosexual seduction, grand larceny and homosexual seduction, grand larceny and a lover's suicide.a lover's suicide.

To the young man Rick who commits To the young man Rick who commits suicide, Paul could also represent one part suicide, Paul could also represent one part of his mind. Paul arouses Rick's wanting of his mind. Paul arouses Rick's wanting of some changes and new experiences. of some changes and new experiences. Except that part (or an awareness of his Except that part (or an awareness of his hidden desire) can be so destructive that hidden desire) can be so destructive that eventually brings an end to his own life. eventually brings an end to his own life. 

Cecilia H. C. Liu

Literary AllusionsLiterary Allusions Catcher in the RyeCatcher in the Rye by J. D. by J. D.

SalingerSalinger Three SistersThree Sisters by Anton Chekhov by Anton Chekhov Waiting for GodotWaiting for Godot by Samuel by Samuel

BeckettBeckett A Doll HouseA Doll House by Henri Ibsen by Henri Ibsen

Art and ArtistArt and Artist KandinskyKandinsky CezanneCezanne Matisse Matisse

Cecilia H. C. Liu

Discussion QuestionsDiscussion Questions1. What motifs do you find in the play? 1. What motifs do you find in the play? 2. What kind of imagination does Paul mean? Does 2. What kind of imagination does Paul mean? Does

Paul “face” himself? What has he done with Paul “face” himself? What has he done with “God’s gift”? In Paul’s talk, he also brings forth “God’s gift”? In Paul’s talk, he also brings forth Holden in Holden in Catcher in the RyeCatcher in the Rye. How is the novel . How is the novel related to the action of the play? related to the action of the play?

3. Comment on the parent-children relationship and 3. Comment on the parent-children relationship and the children in Guare’s play.the children in Guare’s play.

4. As Paul states in the play: “4. As Paul states in the play: “Catcher in the RyeCatcher in the Rye is a is a touching story. Comic because the boy wants to touching story. Comic because the boy wants to do so much and can’t do anything. Hates all do so much and can’t do anything. Hates all phoniness and only lies to others. Wants everyone phoniness and only lies to others. Wants everyone to like him, is only hateful, and is completely self-to like him, is only hateful, and is completely self-involved” (32-33). How do you find this involved” (32-33). How do you find this statement exactly pictures Paul himself? statement exactly pictures Paul himself?

Cecilia H. C. Liu

Works CitedWorks Cited “Chaos, Control.” Review of Six Degrees ofSix Degrees of SeparationSeparation. 2 June 2005 . 2 June 2005

<http://www.weirdprofessortype.com/sixdegrees.html>.<http://www.weirdprofessortype.com/sixdegrees.html>. Guare, John. Guare, John. Six DegreesSix Degrees ofof Separation. Separation. New York:New York: Random House, 1990.Random House, 1990.

Kempley, Rita. Review of Kempley, Rita. Review of Six Degrees ofSix Degrees of SeparationSeparation. 2 June . 2 June 20052005

<http://www.washingtonpost.com/wp-srv/style/longterm/mov<http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/sixdegreesofseparationrkempley_a0a3dd.htm>.ies/videos/sixdegreesofseparationrkempley_a0a3dd.htm>.