By Annemarie Bean
The 1st quantity to contemplate African-American functionality among and past the Black Arts circulation of the Nineteen Sixties and the recent Black Renaissance of the 1990s.
content material: advent : appearing past pre-formations and among pursuits : thirty years of African-American functionality / Annemarie Bean --
Black theatre 1998 : a thirty-year examine Black arts theatre (1998) / Ed Bullins --
Clara's ole guy (1968) / Ed Bullins --
domestic at the variety and Police (1968) / Amiri Baraka (LeRoi Jones) --
The Bronx is subsequent (1968) / Sonia Sanchez --
The Black arts stream (1968) / Larry Neal --
Ritual reformulations : Barbara Ann Teer and the nationwide Black Theatre of Harlem (1998) / Barbara Lewis --
To make Black our bodies unusual : social critique in live performance dance of the Black arts circulate (1998) / Thomas DeFrantz --
A highway throughout the wasteland (1998) / John O'Neal --
conversation : the loose Southern Theater (1965) / Gilbert Moses ... [et al.] --
movement within the ocean : a few political dimensions of the unfastened Southern Theater (1968) / John O'Neal --
After the loose Southern Theater : a conversation (1987) / Tom Dent and Jerry W. Ward, Jr. --
John O'Neal, actor and activist : the praxis of storytelling (1992) / Kate Hammer --
Rode a railroad that had no music (1998) / Glenda Dicker/sun --
Theatre in traditionally Black schools : a survey of a hundred years (1998) / James V. Hatch --Stepping, saluting, cracking, and freaking : the cultural politics of African-American step indicates (1991) / Elizabeth C. effective --
The gospel musical and its position within the Black American theatre (1998) / Warren B. Burdine, Jr. --
Catalysis : an interview with Adrian Piper (1972) / Lucy Lippard --
4 undesirable sisters (1998) / Eugene Nesmith --
A progress of pictures (1977) / Adrienne Kennedy --
Obsessing in public : an interview with Robbie McCauley (1993) / Vicki Patraka --
Sally's rape (1994) / Robbie McCauley --
Anna Deavere Smith : appearing as incorporation (1993) / Richard Schechner --
The notice turns into you : an interview with Anna Deavere Smith (1993) / Carol Martin --
Doo-a-diddly-dit-dit : an interview with Suzan-Lori Parks and Liz Diamond (1995) / Steven Drukman --
The the USA play (1994) / Suzan-Lori Parks.
summary: the 1st quantity to think about African-American functionality among and past the Black Arts flow of the Sixties and the recent Black Renaissance of the Nineties
Read Online or Download A Sourcebook of African-American performance : plays, people, movements PDF
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Extra resources for A Sourcebook of African-American performance : plays, people, movements
Look you, sit down. I don’t have time to look at your boney ass trying to dance. I’m just a working man. And I’ve come, quite frankly, to commit a crime. ) You can’t sit here, looking as weird as you do, and talking as weird as you do, and look at me weird when I say I came to commit a crime. This is the reign of terror, and I am Robespierre. (Family begins to giggle. Father does a dance, threatening to strip off his pants. Daughter in background, starts to loosen her clothes, watching her father cavort.
Yeah, her folks had kicked her out and the little punk she was big for what had tried to put her out on the block and when that didn’t work out… (mocking and making pretended blushes…) because our sweet little thing here was soooo modest and sedate…the nigger split! …HAW HAW HAW…HE MADE IT TO NEW YORK! (She goes into a laughing, choking and crying fit. ) BABY GIRL: Big Girl! Big Girl! Big Girl! ) BIG GIRL: (catches her beath) Whatcha want, little sister? BABY GIRL: The cat. The cat. Cat got kittens.
BIG GIRL: Do like I say! Do like Big wants you to! CLARA: (surrenders) She works out at the state nut farm. BIG GIRL: (triumphant) And tell mister smart and proper what I do. CLARA: (automatically) She’s a technician. JACK: Oh, that’s nice. I didn’t mean to suggest there was anything wrong with how you raised your sister. BIG GIRL: (jolly again) Haw haw haw…Nawh, ya didn’t. I know you didn’t even know what you were sayin’, young blood. Do you know why I taught her to cuss? JACK: Why no, I have no idea.