Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 1998. [Vol. 5.] Eger Journal of American Studies. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 25)

Studies - Szabolcs Szilágyi: Verbal Versus Non-Verbal Aspects in The Rez Sisters and Dry Lips Oughta Move to Kapuskasing

or the presence of spiritual mystery

—mainly the presence of Nanabush. The almost exaggeratedly uneducated English can be a grotesque acceptance of the role cast on Natives by the English as well as a sad reflection on Native affairs

—they have not yet mastered the new culture, but seem to forget more and more about the old one. All these might or might not be true, but what might gain an even greater significance is the lack of communication, lack of attempt to use any visible ways of communication. The use of verbal communication seems to be in a different light if we consider that while in The Rez Sisters Nanabush does not say much (except in the role of the Bingo Master) it has a few dialogues in DryLips

—as Gazelle, as Patsy and as Black Lady

—but never as Nanabush. Realising this makes one wonder: can it be that everything that is verbalised on stage is just a petty attempt to reflect something much deeper, stronger, and spiritual which is present perhaps only in the subconscious of the Natives? Could it be that naming these either in English or Cree would drag them too much to a material level where they would have no place or force or even right to exist? Let us take a look at the scene where Marie-Adele dies. She is taken for a dance by the Bingo Master who transforms into Nanabush, and without any explanation, or long speech leading into it she becomes aware of the change and the significance of having been able to see the bird; and she is taken into the spirit world. The whole scene is as peaceful as the Native spirituality where death is not necessarily the end of something but very much part of a cycle. It is perhaps more direct in Dry Lips where Simon Starblanket, after having been shot, "rises slowly from the ground and 'sleep walks

' right through the scene and up to the upper level, towards the full moon

." (118) Once the importance of speaking and not speaking has been in the focus one should not forget about other

—this time non-verbal

—means of the play. The two very obvious examples come from The Rez Sisters

: the first being when the women go to the 'band office' at the end of Act I and there they stand "in one straight line square in front of the audience. The 'invisible' chief 'speaks': cacophonous percussion for about seven beats, the women listening more and more incredulously. Finally the percussion comes to a dead stop. And Pelajia says, 'No?'" (60) Without any male character having to appear it is the responses of the women that show how little success they had. In lack of men in this case one feels that they (the men) are resonant, 94