Double-take


Book Description

In this important new anthology. Venetria K. Patton and Maureen Honey bring together a comprehensive scicction of texts from the Harlem Renalssance a key period in the literary and cultural history of the cultural life of the United States. The collection revolutionizes our way of viewing this era, as it redresses the ongoing emphasis on the male writers of this time. Double.Take offers a unique, balanced collection of writers - men and women, gay and straight, familiar and obscure. The editors have also included works from a wide variety of genres poetry, short stories, drama, essays, music, and art - allowing readers to understand the true interdisciplinary quality of this cultural movement. Biographical sketches of the authors are provided and most of the places are included in their entirely. Double.Take also includes artwork and illustrations, many of which are from periodicals and have never before been reprinted. Significantly, Double-Take is the first book to include music lyrics to illustrate the interrelation of various art forms. Arranged by author, rather than by genre, this anthology includes works from major Harlem Renaissance figures as well as often-overlooked essay




The Roots of African American Drama


Book Description

Biographic information and a bibliographyof other plays follow each script, providing readers with added sources for study.




Black World/Negro Digest


Book Description

Founded in 1943, Negro Digest (later “Black World”) was the publication that launched Johnson Publishing. During the most turbulent years of the civil rights movement, Negro Digest/Black World served as a critical vehicle for political thought for supporters of the movement.




The Development of Black Theater in America


Book Description

In The Development of Black Theater in America, Leslie Sanders examines the work of the American black theater’s five most productive playwrights: Willis Richardson, Randolph Edmonds, Langston Hughes, LeRoi Jones, and Ed Bullins. Sanders sees the history of black theater as the process of creating a “black stage reality” while at the same time transforming conventions borrowed from white European culture into forms appropriate to black artists and audiences. The author argues that only when these things were accomplished could the aim of black playwrights, often articulated as “the realistic portrayal of the Negro,” be fully realized. This study also examines the changing nature of the dialogue black playwrights have held with the dominant tradition and how that dialogue has shaped their imaginations. Sanders’ discussion of Richardson, Edmonds, Hughes, Jones, and Bullins provides a context for approaching the work of other black playwrights, such as James Baldwin, Lorraine Hansberry, and Owen Dodson. And her argument provides a concrete way of understanding how the context of a dominant culture influences the artistic imagination of writers not of that culture, who must come to terms with its influences and transform it into a vehicle of their own.




The Theater of Black Americans


Book Description

(Applause Books). From the origins of the Negro spiritual and the birth of the Harlem Renaissance to the emergence of a national black theatre movement, The Theatre of Black Americans offers a penetrating look at a black art form that has exploded into an American cultural institution. Among the essays: James Hatch Some African Influences on the Afro-American Theatre; Shelby Steele Notes on Ritual in the New Black Theatre; Sister M. Francesca Thompson OSF The Lafayette Players; Ronald Ross The Role of Blacks in the Federal Theatre.




The African American Theatre Directory, 1816-1960


Book Description

A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. Included in the volume are the earliest organizations that existed before the Civil War, Black minstrel troupes, pioneer musical show companies, selected vaudeville and road show troupes, professional theatrical associations, booking agencies, stock companies, significant amateur and little theatre groups, Black units of the WPA Federal Theatre, and semi-professional groups in Harlem after the Federal Theatre. The A-Z entries are supplemented with a classified appendix that also includes additional organizations not listed in the main directory, a bibliography, and three indexes for shows, showpeople, and general subjects. Cross referencing makes related information easy to find.




The New Republic


Book Description




The Cambridge Companion to African American Theatre


Book Description

This new edition provides an expanded, comprehensive history of African American theatre, from the early nineteenth century to the present day. Including discussions of slave rebellions on the national stage, African Americans on Broadway, the Harlem Renaissance, African American women dramatists, and the New Negro and Black Arts movements, the Companion also features fresh chapters on significant contemporary developments, such as the influence of the Black Lives Matter movement, the mainstream successes of Black Queer Drama and the evolution of African American Dance Theatre. Leading scholars spotlight the producers, directors, playwrights, and actors who have fashioned a more accurate appearance of Black life on stage, revealing the impact of African American theatre both within the United States and around the world. Addressing recent theatre productions in the context of political and cultural change, it invites readers to reflect on where African American theatre is heading in the twenty-first century.




Time


Book Description




A Beautiful Pageant


Book Description

The Harlem Renaissance was an unprecedented period of vitality in the American Arts. Defined as the years between 1910 and 1927, it was the time when Harlem came alive with theater, drama, sports, dance and politics. Looking at events as diverse as the prizefight between Jack Johnson and Jim 'White Hope' Jeffries, the choreography of Aida Walker and Ethel Waters, the writing of Zora Neale Hurston and the musicals of the period, Krasner paints a vibrant portrait of those years. This was the time when the residents of northern Manhattan were leading their downtown counterparts at the vanguard of artistic ferment while at the same time playing a pivotal role in the evolution of Black nationalism. This is a thrilling piece of work by an author who has been working towards this major opus for years now. It will become a classic that will stay on the American history and theater shelves for years to come.