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Question 1:
I am convinced Aristotle would definitely have to agree with how Wilson handled "denouement/resolution". Wilson's logical approach to the characters and their trials within the "Come and Gone" fits perfectly with how Aristotle would classify a poem/theatrical performance. The embrace the characters make at the end of the play truly ties up the loose ends within each characters' conflict. I especially would consider Aristotle approving of Wilson's approach to Mr. Lindo at the end finding "his song" and becoming the "shining man". Wilson also reemphasizing the history between African Americans and White Americans with the representation of white oppression must hit home with Aristotle on relevant works of art for the times. Ultimately, Aristotle would agree with Wilson's approach to denouement/resolution.
Question 2:
Act 2 Scene 5 when Bynum calls out to Herald.

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Padlet Board Aristotle and August Wilson

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Aristotle would agree with the way Wilson handled denouement and resolution, not even just in this play, but in all of his works. Information was presented in a relatable and honest way, and the truth was never muddled. One of Aristotle's teachings was that the truth be brought to light, and Wilson did just this.

Act 1, Scene 1

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I think Artistole would think that the way Wilson handles denouement and resolution would meet his expectations. The way that the problems were very direct and resolves showed a lot of how Wilson took in how Artistole would of wanted.

question two
the man sitting at the table playing with his hat.

Caroline Stewart

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I believe Aristotle would most likely approve of the wayAugust Wilson handled the ending of the play. As each issues was presented, it was done so in such a honest and direct way. I believe Aristotle would have appreciated this technique. I agree that Aristotle would have been content with how the characters were purely themselves. uncertainty is a feeling that never arose for the audience of this play and I believe that helps with how the denouement and resolution were handled.

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I believe Aristotle would approve of the way Wilson handles "denoument" and "resolution". I think this because the characters lived truly and faced issues in a direct way which goes in line with Aristotle's desire which was the truth to be told. It is clear that August Wilson certainly provided this.

Question 2
Act one, Scene one
Seth and Bertha in the beginning of their day

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August Wilson handles "denouement " and "resolution " fairly well, as there wasn't too much conflict and each issue was addressed and straightforward. Aristotle seemed truth and August Wilson provided such thing, so Aristotle would approve.

Question 2

Act Two, Scene Two
Bynum singing to himself.

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I feel that Aristotle would approve of the way August went about handling denoument and resolution because each character that had an issue, settled it with confrontation and that was the end of it. He does not leave anyone guessing. The scene with the family praying around the dinner table was a very real moment in where they all come together.

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I believe Wilson does a great job with this piece. He's very straight to the point and truthful. He doesn't allow for any speculation or doubtfulness in his resolutions. What happened, happened and thats what the scene shows.

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Personally I believe that Wilson handled it in a good way. Aristotle would have approved because the resolution was so straight forward. Aristotle always wanted someone to tell the truth and Wilson definitely didn't beat around the bush. The scene with confrontation was very straight to the point.

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I believe that Wilson handles the "denoument" and resolve in an unsatisfying way. In a way, he ties up the loose ends and Loomis finds his song, however, I found myself disappointed by how the entire play he can not stop talking about finding his long lost wife, but then does not end up with her. Instead he drops off their child with her and moves on like he hadn't just spent years searching for her. I do not believe that aristotle would approve of his style because the play's ending was a huge twist that did not follow where the plot had been leading up to the entire play.
Scene: Act 2 Scene 4. Reuben Kisses Zonia

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I believe Aristotle would approve of the way August Wilson handles "denouement" and "resolution" because he does it with ease and confidence. Wilson, when finding a resolution, ends the problem there. He does not continue to bounce back to it and bring it back up, but he eases through the resolution process and then once he reaches it, he is finished. That is why i use the term confident in describing Wilson's way of handling resolution because if he were unsure of how to resolve an issue it would continue to drag on.

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Wilson handles "denoument" and "resolution" in extreme measures. It induces lots of drama and draws readers/the audience in. It gives the production 'a spark'. I think that Aristotle would approve because the characters are being true to themselves. They are living their own experiences to realize their truth!

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Wilson handles "denoument" and "resolution" in extreme measures. It induces lots of drama and draws readers/the audience in. It gives the production 'a spark'. I think that Aristotle would approve because the characters are being true to themselves. They are living their own experiences to realize their truth!

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Scene: When they are all sitting at the table holding hangs being thankful.

Blair Nemechek

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I believe Wilson handles the denoument/resolution in a way that perhaps Aristotle would not approve of. While there are many loose strings that are tied up at the end of the play, I suppose personally I didn't feel complete resolve in the way it ended. For myself it seemed to be more of a snapshot in the lives of these characters rather than a decisive end to a story.

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Wilson handles "denoument" and "resolution" honestly and wholesome. I believe Aristotle would approve of how Wilson handles these two aspects because it goes along with his true trait of truth telling. Wilson not only tells his truth but allows his characters to as well. I agree with the individual who stated that the characters were living their true selves and learning about themselves through experiences and practice rather than reading because it's known that is how Wilson works!  One scene in the montage is: the confrontation between the white man and the black man.  

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Wilson handles "denoument" and "resolution" honestly and wholesome. I believe Aristotle would approve of how Wilson handles these two aspects because it goes along with his true trait of truth telling. Wilson not only tells his truth but allows his characters to as well. I agree with the individual who stated that the characters were living their true selves and learning about themselves through experiences and practice rather than reading because it's known that is how Wilson works!  One scene in the montage is: the confrontation between the white man and the black man.  

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The boardinghouse residents start to Juba/dance after dinner.

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Wilson handles "denoument" and "resolution" with closure and fulfillment. I think Aristotle would approve of how Wilson handles "denoument" and "resolution". He would believe the characters in the book were living their true selves and learning about themselves through experiences and practice rather than reasoning.

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A review of the 1988 production at the Barrymore Theatre in New York

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A review of the 1988 production at the Barrymore Theatre in New York

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Credit Credit The New York Times Archives

This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com.

August Wilson continues to rewrite the history of the American theater by bringing the history of black America - and with it the history of white America - to the stage. In ''Joe Turner's Come and Gone,'' Mr. Wilson's third play to reach New York, that history unfolds with the same panoramic sweep that marked ''Ma Rainey's Black Bottom'' and ''Fences.'' As the new play's characters hang out in the kitchen and parlor of a black boardinghouse in the Pittsburgh of 1911, they retrace their long hard roads of migration from the sharecropping South to the industrialized North, and those tales again hum with the spellbinding verbal poetry of the blues. Whether a lost young woman is remembering how her mother died laboring in the peach orchards or a bitter man named Herald Loomis (Delroy Lindo) is recounting his seven years of illegal bondage to the Mississippi bounty hunter Joe Turner, Mr. Wilson gives haunting voice to the souls of the American dispossessed.

But to understand just why the play at the Barrymore may be Mr. Wilson's most profound and theatrically adventurous telling of his story to date, it is essential to grasp what the characters do not say - to decipher the history that is dramatized in images and actions beyond the reach of logical narrative. In ''Joe Turner,'' there are moments when otherwise voluble men reach a complete impasse with language, finding themselves struck dumb by traumatizing thoughts and memories that they simply ''ain't got the words to tell.'' And there are times when the play's events also leap wildly off the track of identifiable reality. Late in Act I, Herald Loomis becomes so possessed by a fantastic vision - of bones walking across an ocean - that he collapses to the ground in a cyclonic paroxysm of spiritual torment and, to the horror of his fellow boarders, scuttles epileptically across the floor on his back, unable to recover his footing and stand up.

These are occasions of true mystery and high drama, and they take Mr. Wilson's characters and writing to a dizzying place they haven't been before. That place is both literally and figuratively Africa. Though on its surface a familiar American tale about new arrivals in the big city searching for jobs, lost relatives, adventure and love, ''Joe Turner's Come and Gone'' is most of all about a search for identity into a dark and distant past. That search leads the black characters back across the ocean where so many of their ancestors died in passage to slavery - and it sends Mr. Wilson's own writing in search of its cultural roots. As the occupants of the Pittsburgh boardinghouse are partly assimilated into white America and partly in thrall to a collective African unconscious, so Mr. Wilson's play is a mixture of the well-made naturalistic boardinghouse drama and the mystical, non-Western theater of ritual and metaphor. In ''Joe Turner,'' the clash between the American and the African shakes white and black theatergoers as violently as it has shaken the history we've all shared.

To achieve his sophisticated end, Mr. Wilson has constructed an irresistible premise. ''Joe Turner'' begins when the bizarre Loomis, imposing and intense in Mr. Lindo's riveting performance, comes knocking fiercely at the boardinghouse door with his delicate 11-year-old daughter (Jamila Perry) incongruously in tow. With his years of servitude to Joe Turner at last behind him, Loomis is searching for the wife who deserted him at the start of his captivity a decade earlier. But Loomis is a ''wild-eyed, mean-looking'' man who looks as if he ''killed somebody gambling over a quarter''; he's so pitch-black in mood and dress that there must be more to his story. Bynum Walker (Ed Hall), an eccentric fellow boarder with a penchant for clairvoyance and other forms of old-country voodoo, becomes obsessed with the strange intruder, intent on linking Loomis somehow to the supernatural ''shining man'' who haunts his own search for the ''secret of life.''

Yet the metaphysical cat-and-mouse game played by Bynum and Loomis is only the spine of ''Joe Turner.'' Everyone in the boardinghouse is looking, each according to his own experience, for either a lost relative or a secret of life, or both. The proprietor (Mel Winkler), the son of a free man, seeks salvation by becoming a typical American entrepreneur; he has no sympathy for a new young tenant (Bo Rucker) who arrives in Pittsburgh with rustic cotton-picking manners and crazy dreams of escaping menial labor with his guitar music. The women of the house also range across a wide spectrum - from a worldly cynic (Kimberly Scott) to a naive romantic searching for a man (Kimberleigh Aarn) to the good-hearted proprietress (L. Scott Caldwell) who believes that laughter is the best way ''to know you're alive.''

By throwing such varied individuals together, Mr. Wilson creates a kaleidoscopic pattern of emotional relationships, including some tender, funny and sexy courtships sparked by the endearingly boisterous Mr. Rucker. But each character also has a distinct relationship to the black past, just as each has a different perspective on the white urban present. It's only when all the boardinghouse residents spontaneously break into an African ''juba,'' singing and dancing at a Sunday fried-chicken dinner, that the extended family of ''Joe Turner'' finds a degree of unity and peace. As Bynum says to anyone who will listen, each man must find his own song if he is to be free. Loomis, the sole character who fails to join in the juba, must find his song if he is to reconnect to life and overthrow the psychic burden of his years of slavery. Only then will Joe Turner - the play's symbol of white oppression as well as the subject of the W. C. Handy blues song that gave it its title - be truly gone.

As usual with Mr. Wilson, the play overstates its thematic exposition in an overlong first act. There are some other infelicities, too, most notably the thin characterization of a pair of children. While one wishes that the director, Lloyd Richards, had addressed these flaws with more tough-mindedness during the two years of refinement that followed the play's premiere at the Yale Repertory Theater, the production is in every other way a tribute to its extended development process in resident theaters around the country. The first-rate cast, which also includes Raynor Scheine as a benign white river rat and Angela Bassett as a fervent convert to the white god that failed her ancestors, forms a supple, harmonic ensemble. Mr. Richards's staging is equally conversant with scenes of romantic flirtation, rending tableaux of divided families and galvanic climaxes in which the past erupts in a frenzy of exorcism.

The oblique, symbiotic relationship between Mr. Hall's otherworldly Bynum and Mr. Lindo's Loomis is particularly impressive. The two men's subliminal, often unspoken connection emerges like a magnetic force whenever they are onstage together. Loomis, we're told, was in happier days the deacon of the ''Abundant Light'' church. Under Mr. Hall's subtle psychological prodding and healing, Mr. Lindo gradually metamorphoses from a man whose opaque, defeated blackness signals the extinction of that light into a truly luminous ''shining man,'' bathing the entire theater in the abundant ecstasy of his liberation. The sight is indescribably moving. An American writer in the deepest sense, August Wilson has once again shown us how in another man's freedom we find our own. THE CLASH OF CULTURES - JOE TURNER'S COME AND GONE, by August Wilson; directed by Lloyd Richards; scenery by Scott Bradley; costumes by Pamela Peterson; lighting by Michael Giannitti; music direction by Dwight Andrews; production stage manager, Karen L. Carpenter; associate producers, Jeffrey Steiner, Kery Davis and Charles Grantham. Presented by Elliot Martin and Vy Higginsen/Ken Wydro in association with the Yale Repertory Theater. At the Ethel Barrymore Theater, 243 West 47th Street. Seth Holly...Mel Winkler Bertha Holly...L. Scott Caldwell Bynum Walker...Ed Hall Rutherford Selig...Raynor Scheine Jeremy Furlow...Bo Rucker Herald Loomis...Delroy Lindo Zonia Loomis...Jamila Perry Mattie Campbell...Kimberleigh Aarn Reuben Mercer...Richard Parnell Habersham Molly Cunningham...Kimberly Scott Martha Pentecost...Angela Bassett

A version of this article appears in print on , Section C, Page 15 of the National edition with the headline: Review/Theater; Panoramic History Of Blacks in America In Wilson's 'Joe Turner'. Order Reprints | Today's Paper | Subscribe

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Review/Theater; Panoramic History Of Blacks in America In Wilson's 'Joe Turner'

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This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems. Please send reports of such problems to archive_feedback@nytimes.com.

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Read the review.  Then click on the red circle with the + in the center and post your thoughts on this question.  Do not repeat what has already been posted.  Add to it, disagree with it, but do not repeat it.  Question: Describe how Wilson handles "denoument" and "resolution."  Would Aristotle approve?

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Read the review.  Then click on the red circle with the + in the center and post your thoughts on this question.  Do not repeat what has already been posted.  Add to it, disagree with it, but do not repeat it.  Question: Describe how Wilson handles "denoument" and "resolution."  Would Aristotle approve?

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Montage:  Joe Turner's Come and Gone, Lincoln Center Production.  Identify one scene in the montage.  They go pretty fast.  Post your answer in 10 words or less.  No repeats!