By Samuel A. Hay

ISBN-10: 0521465850

ISBN-13: 9780521465854

A landmark paintings within the examine of Black theater and drama, African American Theatre deals the 1st finished background of a massive cultural phenomenon formerly too frequently ignored. during this fast paced research, Hay seeks out the origins of Black theater in social protest, as predicted by way of W.E.B. Dubois, and as a proper department of arts theater. Divided among those opposing forces--the activist and the artistic--Black theater, Hay argues, confronted conflicts of id whose strains nonetheless hang-out the medium this day. African American Theatre hence deals a method of finding Black theater within the higher context of yankee theater and within the continuum of African American background from the 19th century to the present--and in doing so bargains a profile of dramatic expression formed and scarred by way of the forces of repression, of self-affirmation, and of subversion. Sweeping in scope, unique in technique and provocatively written, this crucial ebook mines the origins and affects directing Black theater, whereas charting a path for its destiny survival.

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Extra info for African American Theatre: An Historical and Critical Analysis

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36 Because the FTP refused to address the race issue substantively, Art-Theatre dramatists tackled the task through the second (Protest Realism) and the third (Satire/Farce) subclasses of Inner Life versus Outer Life plays. By developing the hybrid Protest Realism, the Locke school really trespassed on the turf of the DuBois people. The Locke dramatists postponed the inevitable battle with adherents of the DuBois school by making their plots and characters different. Locke's followers wrote plots with clearly distinguished beginnings, middles, and ends and created major characters who were fully developed.

The FTP did not have to worry about producing Hughes because he had decided quite early to have nothing to do with this Workers Progress Administration program. 35 Hughes might have felt differently about getting involved had the actress Rose McClendon, whom he respected, accepted FTP director Hallie Flanagan's invitation to direct the Negro Unit. 36 Because the FTP refused to address the race issue substantively, Art-Theatre dramatists tackled the task through the second (Protest Realism) and the third (Satire/Farce) subclasses of Inner Life versus Outer Life plays.

Fuller's positivism influenced the development of the second subclass, Biography, which was now different. Although Frederick Douglass, Toussaint L'Ouverture, Sojourner Truth, and Harriet Tubman appeared continually in African American drama, their treatment now depicted new perspectives on them. Their DuBoisera contributions, for example, took a back seat to their challenges in such plays as Frederick Douglass Now (1989), a one-man multimedia piece; Toussaint, Angel-Warrior (1985) by Audley Haffenden; A Woman Called Truth (1989) by Sandra Fenichel Asher; and Hats: A Tribute to Harriet Tubman (1986), also a one-woman work.

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African American Theatre: An Historical and Critical Analysis by Samuel A. Hay

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