By Annemarie Bean
The 1st quantity to contemplate African-American functionality among and past the Black Arts stream of the Sixties and the recent Black Renaissance of the 1990s.
content material: creation : appearing past pre-formations and among routine : 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 stream (1998) / Thomas DeFrantz --
A street 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 loose Southern Theater (1968) / John O'Neal --
After the unfastened 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 song (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. superb --
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 observe 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 US play (1994) / Suzan-Lori Parks.
summary: the 1st quantity to think about African-American functionality among and past the Black Arts move of the Nineteen Sixties and the recent Black Renaissance of the Nineties
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Extra info for A Sourcebook of African-American performance : plays, people, movements
And it’s really good for her, gives her spirit and everything. CLARA: That’s what probably warped her brain. BIG GIRL: Hush up! You knows it was dat fuckin’ disease. All the doctors said so. CLARA: You don’t believe no doctors ’bout nothin’ else! BIG GIRL: (glares at Clara) Are you showin’ out, Clara? Are you showin’ out to your little boy friend? CLARA: He ain’t mah boy friend. JACK: (interrupts) How do you know she might not have spirit if she wasn’t allowed to curse? BIG GIRL: (sullen) I don’t know anything, young blood.
FATHER: (more concerned) Swachtung, dirigible. Vatoloop? ) CRIMINAL: Back up dollbaby, don’t die in the doorway… FATHER: (seeing criminal, makes nervous step forward) Lurch. Crud. Daddoom. Crench! CRIMINAL: What? (not understanding) You see this gun, mumbler. Back up or I burn you. FATHER: Vataloop. Lurch. Crench. Crench. (shakes with fear, anger) Vacuvashtung Schwacuschwactung. Yiip! CRIMINAL: What the hell’s wrong with you? Goddam idiot, back up. (Rest of family now up and moving concerned toward door.
They are soaked but 2 CLARA’S OLE MAN 23 wear only thin jackets, caps and pants. ) BIG GIRL: What the hell is this? G. The man was on our asses so we had to come on in out of the rain, baby, dig? BIG GIRL: Well tell me somethin’ I don’t know, baby. Why you got to pick mah back door? I ain’t never ready for any more heat than I gets already. G. We didn’t have any choice. BAMA: That’s right, Big Girl. You know we aint lame ’nuf to be usin’ yo pad for no highway. HOSS: Yeah, baby, you know how it is when the man is there.