MARC Record from marc_columbia

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035 $a(NNC)15598833
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016 7 $a019143173$2Uk
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020 $z9781138726710$q(hbk.)
024 8 $a10.4324/9781315191225$2doi
035 $a(OCoLC)1078565869
037 $a9781351751438$bIngram Content Group
050 4 $aPN2270.A35
082 04 $a792.08996073$223
049 $aZCUA
100 1 $aPerkins, Kathy A.
245 14 $aThe Routledge Companion to African American Theatre and Performance
260 $aMilton :$bRoutledge,$c2018.
300 $a1 online resource (451 pages)
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aRoutledge Companions Ser.
588 0 $aPrint version record.
505 0 $a<P></P><P>List of Figures</P><P></P><P>Editor/Contributor Biographies</P><P></P><P>Black Art Now by Nambi E. Kelley</P><P>Introduction: Renee Alexander Craft, Thomas F. DeFrantz. Kathy A. Perkins, and Sandra L. Richards. </P><P></P><P> </P><B><P>Part I: Highlights of African American Theatre and Performance</P></B><P></P><P> </P><B><P>Part II: Seeing Ourselves Onstage</P></B><P>Edited and Introduced by Thomas F. DeFrantz</P><P></P><P> </P><P>Chapter 1</P><P>Dudley, The Smart Set, and the Beginning of the Black Entertainment Industry</P><P>Nadine George-Graves</P><P></P><P> </P><P>Chapter 2</P><P>Black Theatre History Plays: Remembering, Recovering, Re-envisioning</P><P>Sandra Mayo</P><P></P><P> </P><P>Chapter 3</P><P>"Hung Be the Heavens with Black" Bodies: An Analysis of the August 1822 Riot at William Brown's Greenwich Village Theater</P><P>Marvin McAllister</P><P></P><P> </P><P>Chapter 4</P><P>Mulattoes, Mistresses, and Mammies: The Phantom Family in Langston Hughes's <I>Mulatto</P></I><P>Alison Walls</P><P></P><P> </P><P>Chapter 5</P><P>Interview with Woodie King, Jr. -- Producer and Director</P><P>JaMeeka Holloway-Burrell</P><P></P><P> </P><P>Chapter 6</P><P>Freedom Forward: Alice Childress and Lorraine Hansberry Circling Broadway in the 1950s</P><P>Barbara Lewis</P><P></P><P> </P><P>Chapter 7</P><P>Navigating Respectability in Turn of the Century New York City: <I>Intimate Apparel </I>by Lynn Nottage</P><P>Marta Effinger-Crichlow</P><P> </P><P>Chapter 8</P><P>Earle Hyman: Scandinavian Successes</P><P>Baron Kelly</P><P></P><P> </P><P>Chapter 9</P><P>Pittsburgh Piety: A Century of Symbolism</P><P>Pedro E. Alvarado</P><P></P><P> </P><P>Chapter 10</P><P>Interview with Ron Simons -- Broadway Producer</P><P>Lisa B. Thompson</P><P></P><P> </P><P>Chapter 11</P><P>Interview with Paul Tazewell -- Costume Designer</P><P>Niiamar Felder</P><P></P><P> </P><P>Chapter 12</P><P>Race on the Opera Stage</P><P>Twila L. Perry </P><P></P><P> </P><P>Chapter 13</P><I><P>The Wiz </I>and the African Diaspora Musical: Rethinking the Research Questions in Black Musical Historiography</P><P>Sam O'Connell</P><P> </P><P>Chapter 14</P><P>Bob Cole's "Colored Man's Declaration of Independence": The Case of <I>Shoo Fly Regiment </I>and George C. Wolfe's <I>Shuffle Along </P></I><P>Paula Marie Seniors</P><P> </P><P>Chapter 15</P><I><P>Shuffle Along </I>and Ethnic Humor: A Family Story</P><P>Sandra Seaton</P><P></P><P> </P><P>Chapter 16</P><P>Interview with Eva Yaa Asantewaa -- Dance Critic</P><P>Thomas F. DeFrantz</P><P></P><P> </P><P>Chapter 17</P><P>Black Female Sexuality in the Drama of Pearl Cleage</P><P>Beth Turner</P><P></P><P> </P><P>Chapter 18</P><P>Coming-of-Age and Rituals of Gender Nonconformity in Leslie Lee's <I>The First Breeze of Summer</P></I><P>Rhone Fraser</P><P></P><P> </P><P>Chapter 19</P><P>Pomo Afro Homos: A Revolutionary Act</P><P>Tabitha Jamie Mary Chester</P><P></P><P> </P><P> </P><B><P>PART III: Institution Building: Making a Space of OUR Own </P></B><P>Edited and Introduced by Kathy A. Perkins</P><P></P><P> </P><P>Chapter 20</P><P>Being Black on Stage and Screen: Black Actor Training Before Black Power and the Rise of Stanislavski's System </P><P>Monica White Ndounou </P><P></P><P> </P><P>Chapter 21</P><P>Three Visionary African American Women Theatre Artists: Anita Bush, Barbara Ann Teer and Ellen Stewart </P><P>Sandra Adell </P><P></P><P> </P><P>Chapter 22</P><P>The Birth of Queen Anne: Re-Discovering Anne Cooke at Spelman College </P><P>Leslye Joy Allen</P><P></P><P> </P><P>Chapter 23</P><P>The Howard University Players: From Respectability Politics to Black Representation</P><P>Denise J. Hart and Kathy A. Perkins</P><P></P><P> </P><P>Chapter 24</P><P>An African American Theatre Program for the 21st Century</P><P>Nefertiti Burton</P><P></P><P> </P><P>Chapter 25</P><P>Interview with Karen Allen Baxter -- Managing Director of Rites and Reason Theatre</P><P>Jasmine Johnson</P><P></P><P> </P><P>Chapter 26</P><P>The Negro Ensemble Company, Inc.: One Moment in Time</P><P>Susan Watson Turner</P><P></P><P> </P><P>Chapter 27</P><P>Interview with Shirley Prendergast -- Lighting Designer </P><P>Kathy A. Perkins</P><P></P><P> </P><P>Chapter 28</P><P>Interview with Femi Sarah Heggie -- Stage Manager </P><P>Kathy A. Perkins</P><P></P><P> </P><P>Chapter 29</P><P>Weathering the Winds of Change: The Sustainability of the St. Louis Black Repertory Company </P><P>Gregory S. Carr</P><P></P><P> </P><P>Chapter 30</P><P>The National Black Theatre Festival and the "Marvtastic" Legacy of Larry Leon Hamlin</P><P>J. K. Curry</P><P></P><P> </P><P>Chapter 31</P><P>The Black Feminist Theatre of Glenda Dickerson </P><P>Khalid Yaya Long</P><P></P><P> </P><P>Chapter 32</P><P>Ernie McClintock's Jazz Acting: A Theatre of Common Sense</P><P>Elizabeth M. Cizmar</P><P></P><P> </P><P>Chapter 33</P><P>Black Acting Methods®: Mapping the Movement </P><P>Sharrell D. Luckett</P><P></P><P> </P><P>Chapter 34</P><P>Financial Fitness of Black Theatres: Roundtable of Artistic Directors</P><P>K. Zaheerah Sultan</P><P></P><P> </P><P>Chapter 35</P><P>A Reflection on The University of Arkansas Pine Bluff's <I>The Hip Hop Project: Insight into the Hip Hop Generation</I> </P><P>Johnny Jones</P><P></P><P> </P><P>Chapter 36</P><P>Interview with Ekundayo Bandele -- Founder and CEO of Hattiloo Theatre </P><P>Shondrika Moss-Bouldin</P><P></P><P> </P><P> </P><B><P>PART IV: THEATRE AND SOCIAL CHANGE</P></B><P>Edited and Introduced by Sandra L. Richards</P><P></P><P> </P><P>Chapter 37</P><P>W.E.B. DuBois, Dramatist</P><P>FREDA SCOTT GILES </P><P></P><P> </P><P>Chaper 38</P><P>The Third Gift of the Negro: Muslim Identity and DuBois' <I>Star of Ethiopia</P></I><P>CRISTAL CHANELLE TRUSCOTT </P><P></P><P> </P><P>Chapter 39</P><P>Oh, Ma Dear! What's Going On: Staging Angelina W. Grimke's <I>Rachel</I> in the Wake of Black Lives Matter</P><P>NICOLE HODGES PERSLEY</P><P></P><P> </P><P>Chapter 40</P><P>Leaning Left: Why Theater Artists in the 1930s Were Attracted to the Red Movement</P><P>KIMMIKA L.H. WILLIAMS-WITHERSPOON</P><P></P><P> </P><P>Chapter 41</P><P>Fighting Fire with Fire: Violence and the Black Liberation Movement </P><P>PORTIA OWUSU</P><P></P><P> </P><P>Chapter 42</P><P>"When We Gonna Rise": Free Southern Theater Performances of <I>Slave Ship</I> and Black Power in Mississippi</P><P>Susan Stone-Lawrence</P><P></P><P> </P><P>Chapter 43</P><P>From "Poemplays" to Ritualistic Revivals: The Experimental Works of Women Dramatists of the Black Arts Movement</P><P>LA DONNA L. FORSGREN </P><P></P><P> &
505 0 $aCover; Half Title; Series Information; Title Page; Copyright Page; Table of Contents; List of Figures; Editors and Contributors; "Black art now"; Introduction; Note; Works cited; Highlights of African American theatre and performance; 1700s-1800s; 1900s-1940s; 1950s-1970s; 1980s-1990s; 2000-present; Part 1 Seeing ourselves onstage; 1 Dudley, the Smart Set, and the Beginning of the Black Entertainment Industry; Notes; Works cited; 2 Black Theatre History Plays: Remembering, Recovering, Re-envisioning; Defining the genre; Purpose; Theatricality; Thematic overview; Works cited
505 8 $a3 "Hung Be the Heavens with Black" Bodies: an Analysis of the August 1822 Riot at William Brown's Greenwich Village TheatreNotes; Works cited; 4 Mulattoes, Mistresses, and Mammies: the Phantom Family in Langston Hughes' Mulatto; Notes; Works cited; 5 Interview with Woodie King, Jr : Producer and Director; 6 Freedom Forward: Alice Childress and Lorraine Hansberry Circling Broadway in the 1950s; Works cited; 7 Navigating Respectability in Turn-of-the-century New York City: Intimate Apparel by Lynn Nottage; Notes; Works cited; 8 Earle Hyman: Scandinavian Successes; Note; Works cited
505 8 $a9 Pittsburgh Piety: a Century of SymbolismWorks cited and further reading; 10 Interview with Ron Simons: Broadway Producer; 11 Paul Tazewell: Costume Designer; 12 Race on the Opera Stage; Works cited; 13 The Wiz and the African Diaspora Musical: Rethinking the Research Questions in Black Musical Historiography; Notes; Works cited; 14 Bob Cole's "colored Actor's Declaration of Independence": the Case of the Shoo-fly Regiment and George C Wolfe's Shuffle a; Note; Works cited; 15 Shuffle Along and Ethnic Humor: a Family Story; Notes; Works cited; 16 Interview with Eva Yaa Asantewaa: Dance Writer
505 8 $a17 Black Female Sexuality in the Drama of Pearl CleageWorks cited; 18 Coming-of-age and Rituals of Gender Nonconformity in Leslie Lee's the First Breeze of Summer; Works cited; 19 Pomo Afro Homos: a Revolutionary Act; Works cited; Part II Institution building; 20 Being Black on Stage and Screen: Black Actor Training Before Black Power and the Rise of Stanislavsky's System; Works cited; 21 Three Visionary African American Women Theatre Artists: Anita Bush, Barbara Ann Teer, and Ellen Stewart; Anita Bush; Barbara Ann Teer; Ellen Stewart; Works cited
505 8 $a22 The Birth of Queen Anne: Re-discovering Anne M Cooke at Spelman CollegeNotes; Works cited; 23 The Howard University Players: from Respectability Politics to Black Representation; Works cited; 24 An African American Theatre Program for the Twenty-first Century; Works cited; 25 Interview with Karen Allen Baxter: Senior Managing Director of Rites and Reason Theatre; 26 The Negro Ensemble Company, Inc : One Moment in Time?; Nec History; The autonomy model; The price; The institution; Works cited; 27 Interview with Shirley Prendergast: Lighting Designer; Note
500 $a28 Interview with Femi Sarah Heggie: Stage Manager
520 3 $aThe Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance-fromthe nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre.
650 0 $aAfrican American theater.
650 0 $aAfrican American theatrical producers and directors.
650 0 $aAfrican American dramatists.
650 0 $aAfrican American actors.
650 6 $aThéâtre noir américain.
650 6 $aProducteurs et metteurs en scène de théâtre noirs américains.
650 6 $aDramaturges noirs américains.
650 6 $aActeurs noirs américains.
650 7 $aPERFORMING ARTS$xTheater$xGeneral.$2bisacsh
650 7 $aPERFORMING ARTS$xTheater$xHistory & Criticism.$2bisacsh
650 7 $aAfrocentric.$2bisacsh
650 7 $aBlack.$2bisacsh
650 7 $aChildress.$2bisacsh
650 7 $aDiaspora.$2bisacsh
650 7 $aDubois.$2bisacsh
650 7 $aGospel.$2bisacsh
650 7 $aHansberry.$2bisacsh
650 7 $aHip Hop.$2bisacsh
650 7 $aKrump.$2bisacsh
650 7 $aLynching.$2bisacsh
650 7 $aPulitzer.$2bisacsh
650 7 $aUniversoul.$2bisacsh
650 7 $aVaudeville.$2bisacsh
650 7 $aVoguing.$2bisacsh
650 7 $aAfrican American actors.$2fast$0(OCoLC)fst00798998
650 7 $aAfrican American dramatists.$2fast$0(OCoLC)fst00799140
650 7 $aAfrican American theater.$2fast$0(OCoLC)fst00799418
650 7 $aAfrican American theatrical producers and directors.$2fast$0(OCoLC)fst00799419
655 0 $aElectronic books.
655 4 $aElectronic books.
700 1 $aRichards, Sandra L.
700 1 $aCraft, Renee Alexander.
700 1 $aDeFrantz, Thomas F.
776 08 $iPrint version:$aPerkins, Kathy A.$tRoutledge Companion to African American Theatre and Performance.$dMilton : Routledge, ©2018$z9781138726710
830 0 $aRoutledge Companions Ser.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15598833$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS