People who Led to My Plays


Book Description

A revealing collection of words, memories and pictures-an autobiographical scrapbook--by an outstanding contemporary playwright.




Funnyhouse of a Negro


Book Description

"Drama / 3m, 5f / wing and drop"--Back cover.




Sleep Deprivation Chamber


Book Description

In this autobiographical drama, a broken taillight leads to the brutal beating of a highly educated, middle-class black man by a policeman in suburban Virginia. The Kennedys interweave the trial of the victimized son (accused of assaulting the offending officer) with the mother's poignant letters in his defense and her remembrances of growing up in the 1940s, when her parents were striving "to make Cleveland a better place for Negroes". They have created a gripping examination of the conflicting realities of the black experience in twentieth-century America.




The Adrienne Kennedy Reader


Book Description

Introduction by Werner Sollors Adrienne Kennedy has been a force in American theatre since the early 1960s, influencing generations of playwrights with her hauntingly fragmentary lyrical dramas. Exploring the violence racism visits upon people's lives, Kennedy's plays express poetic alienation, transcending the particulars of character and plot through ritualistic repetition and radical structural experimentation. Frequently produced, read, and taught, they continue to hold a significant place among the most exciting dramas of the past fifty years. This first comprehensive collection of her most important works traces the development of Kennedy's unique theatrical oeuvre from her Obie-winning Funnyhouse of a Negro (1964) through significant later works such as A Movie Star Has to Star in Black and White (1976), Ohio State Murders (1992), and June and Jean in Concert, for which she won an Obie in 1996. The entire contents of Kennedy's groundbreaking collections In One Act and The Alexander Plays are included, as is her earliest work "Because of the King of France" and the play An Evening with Dead Essex (1972). More recent prose writings "Secret Paragraphs about My Brother," "A Letter to Flowers," and "Sisters Etta and Ella" are fascinating refractions of the themes and motifs of her dramatic works, even while they explore new material on teaching and writing. An introduction by Werner Sollors provides a valuable overview of Kennedy's career and the trajectory of her literary development. Adrienne Kennedy (b. 1931) is a three-time Obie-award winning playwright whose works have been widely performed and anthologized. Among her many honors are the American Academy of Arts and Letters award and the Guggenheim fellowship. In 1995-6, the Signature Theatre Company dedicated its entire season to presenting her work. She has been commissioned to write works for the Public Theater, Jerome Robbins, the Royal Court Theatre, the Mark Taper Forum, and Juilliard, and she has been a visiting professor at Yale, Princeton, Brown, the University of California at Berkeley, and Harvard. She lives in New York City.




He Brought Her Heart Back in a Box and Other Plays


Book Description

In her first new work in a decade, Adrienne Kennedy journeys into Georgia and New York City in the 1940s to lay bare the devastating effects of segregation and its aftermath. The story of a doomed interracial love affair unfolds through fragmented pieces--letters, recollections from family members, songs from the time--to present a multifaceted view of our cultural history that resists simple interpretation. This volume also includes Etta and Ella on the Upper West Side and Mom, How Did You Meet The Beatles?




Ohio State Murders


Book Description

An intriguing, unusual and chilling look at the destructiveness of racism in the U.S.




She Talks to Beethoven


Book Description

Set in Ghana, Suzanne waits in her room listening to radio broadcasts about her husband who has mysteriously disappeared while she attempts to write about and communicate with composer Ludwig van Beethoven. Her world is infiltrated by snatches of Ghanaian string music, the revolutionary words of Frantz Fanon and strains of Beethoven's Fidelio. Suzanne, recovering from an unspecified illness hovers in displaced time and space fluctuating between Vienna, Austria, in 1803, and Accra, Ghana, in 1961.




Deadly Triplets


Book Description

Adrienne Kennedy's plays, which have been said to have transformed the landscape of Black American theatre in the past two decades, are highly experimental. Infused with colliding images of torment and tranquility, violence and peace, horror and beauty, her surrealistic dramas open a window into her life. Her characters are a condensed expression of a theatrical mind that aims to integrate autobiographical, political and aesthetic images into a personal narrative. This book is an extension of Kennedy's plays. It consists of two separate, yet linked, entities, The "Theatre Mystery" (fiction) and "Theatre Journal" (non-fiction) exist as mirror images of one another. Each presents layer upon layer of images rather than progressive action to develop their story, an interior monologue that sees the character as author coming to terms with the life of the author as character.




Mom, how Did You Meet the Beatles?


Book Description

Dramatic Comedy / Characters: 1 male (can be voiceover), 1 female Adrienne Kennedy relates her bizarre and star-studded experience of moving to London and working on THE LENNON PLAY: IN HIS OWN WRITE. Her absolute astonishment at being thrust in among the rich and famous of the theater and film world is really refreshing and charming. This is a great story well told.




Contemporary American Drama


Book Description

This book explores the development of contemporary theatre in the United States in its historical, political and theoretical dimensions. It focuses on representative plays and performance texts that experiment with form and content, discussing influential playwrights and performance artists such as Tennessee Williams, Adrienne Kennedy, Sam Shepard, Tony Kushner, Charles Ludlum, Anna Deavere Smith, Karen Finley and Will Power, alongside avant-garde theatre groups. Saddik traces the development of contemporary drama since 1945, and discusses the cross-cultural impact of postwar British and European innovations on American theatre from the 1950s to the present day in order to examine the performance of American identity. She argues that contemporary American theatre is primarily a postmodern drama of inclusion and diversity that destabilizes the notion of fixed identity and questions the nature of reality.