Funnyhouse of a Negro Study Guide

Funnyhouse of a Negro primarily deals with the theme of racial identity, touching on elements of mixed ancestry, as seen through the four manifestations of Sarah's self. The play's fundamental structure (its lack of plot, surrealistic elements, etc.) is influenced by various different cultural artistic movements, giving a basis to this theme of mixed ancestry. The play uses masks, hair, and its set and props in order to evoke all of the mixed cultures the play represents. In casting the 'white' characters with black actresses, Kennedy utilizes her own form of reverse minstrelsy in order to fully represent Sarah's racial identity crisis on stage.

Sarah's selves are divided by female and male characters, exhibiting her own internal divide not only between black and white, but between femininity and masculinity. This tool helps relay the theme of both mental and literal imperialism in the play, as Sarah's own mind and body are violated by foreign elements. The female fragments of Sarah's self are white European elegance and royalty, while the black fragments of herself are incredibly masculine martyrs. In contrasting Sarah's conflicting genders and races so deeply, Kennedy adds enormous complexity to Sarah's conflicting racial identity.

The theme of death is also incredibly prominent in the play. All of Sarah's selves are dead historical figures, and Sarah is haunted by the image of her father's death and mother's plight into insanity because of his touch. Sarah also reveals her own desire to kill her father. She also seeks to kill the blackness inside of her. The father is portrayed in a way in which his very touch is fatal, driving Sarah's mother to lose her sanity and ultimately drive Sarah to her own suicide. The opening sequence of the play immediately presents deathly imagery, as the white curtain is described as being made of "a cheap material and a ghastly white, a material that brings to mind the interior of a cheap casket."

Sexuality is also prevalent in the play, as Sarah is repulsed by, and fears to form any sort of union with, her father. She expresses fear of being raped by her father, because she believes he raped her mother, as well. As the product of rape, Sarah's view of healthy sexual relationships is very stunted. Sexuality reveals itself in the play through the Duchess and Jesus' interactions, as well as her interaction with Sarah's boyfriend, Raymond. The Duchess acts as the ultimate expression of Sarah's sexuality.

Hair is a very important theme in Funnyhouse of a Negro . Hair defines the characters, marks their evolution, and illustrates Sarah's fate. Sarah's "wild kinky hair" is the only part of her physical make-up that identifies her as black. Her hair underscores the idea Sarah tried to disavow—then kill—the African American part of her heritage.