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According to the Aristotelian model, the figures inside a play has to undergo a turning point and also alter. Plays followed this version for centuries, before finally playwrights began to break out of the cycle and adopt alternate arrangements. Neither Amiri Baraka's The Dutchman nor Bertolt Brecht's Mother Courage and Her Children find change within the show itself. Rather, they both search to stir the viewer into altering their societies and lifestyles; and although they share this similar target, they approach it in quite different manners. Amiri Barak tactics the issue of forcing change by facing it head on, oftentimes coming across as offensive. He uses this offensive quality to his benefit though; people remember offensive matters, it sticks with them. Baraka doesn't need that people finish racism; he demands that black men and women stand up and be themselves in the face of persecution, instead of acting how white folks expect them to. Baraka finds that this demeaning and also a betrayal of the African American race. Lula signifies white people as a race, although Clay represents the.