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A History of African American Theatre Errol G
Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays. -
BROOKS ATKINSON THEATER (Originally Mansfield Theater), 256-262 West 47Th Street, Manhattan
Landmarks Preservation Commission November 4, 1987; Designation List 194 LP-1311 BROOKS ATKINSON THEATER (originally Mansfield Theater), 256-262 West 47th Street, Manhattan. Built 1925-26; architect Herbert J. Krapp. Landmark Site: Borough of Manhattan Tax Map Block 1018, Lot 57. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Brooks Atkinson Theater and the proposed designation of the related Landmark Site (I tern No. 7). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty witnesses spoke or had statements read into the record in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has · received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The Brooks Atkinson Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built during the mid-1920s, the Brooks Atkinson was among the half-dozen theaters constructed by the Chanin Organization, to the designs of Herbert J. Krapp, that typified the development of the Times Square/Broadway theater district. Founded by Irwin S. Chanin, the Chanin organization was a major construction company in New York. During the 1920s, Chanin branched out into the building of theaters, and helped create much of the ambience of the heart of the theater district. -
Belknap Collection for the Performing Arts - the AFRICAN-AMERICAN CINEMA COLLECTION
AFRICAN-AMERICAN CINEMA CINEMA AFRICAN-AMERICAN CINEMA The history of the African-American Cinema is a harsh timeline of racism, repression and struggle contrasted with film scenes of boundless joy, hope and artistic spirit. Until recently, the study of the "separate cinema" (a phrase used by historians John Kisch and Edward Mapp to describe the segregation of the mainstream, Hollywood film community) was limited, if not totally ignored, by writers and researchers. The uphill battle by black filmmakers and performers, to achieve acceptance and respect, was an ugly blot on the pages of film history. Upon winning his Best Actor Oscar for LILLIES OF THE FIELD (1963), Sidney Poitier accepted, on behalf of the countless unsung African-American artists, by acknowledging the "long journey to this moment." This emotional, heartbreaking and inspiring journey is vividly illustrated by the latest acquisition to the Belknap Collection for the Performing Arts - THE AFRICAN-AMERICAN CINEMA COLLECTION. The valuable research material, housed in this collection, includes over 300 pressbooks (illustrated campaign and advertising catalogs sent to theatre owners), press kits (media packages including biographies, promotional essays and illustrations), programs and over 1000 photographs and slides. The journey begins with the blatant racism of D.W. Griffith's THE BIRTH OF A NATION (1915), a film respected as an epic milestone, but reviled as the blueprint for black film stereotypes that would appear throughout the 20th century. Researchers will follow African-American films through an extended period of stereotypical casting (SONG OF THE SOUTH, 1946) and will be dazzled by the glorious "All-Negro" musicals such as STORMY WEATHER (1943), ST.LOUIS BLUES (1958) and PORGY AND BESS (1959). -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 109 CONGRESS, FIRSTSESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 109 CONGRESS, FIRSTSESSION Vol. 151 WASHINGTON, WEDNESDAY, FEBRUARY 9, 2005 No. 13 House of Representatives The House met at 10 a.m. and was hearing us, and granting our many pe- pursued his calling. He has been the called to order by the Speaker pro tem- titions. In Jesus’ name we pray. Amen. Pastor of Welcome Baptist Church for pore (Mrs. EMERSON). f the past 12 years. f Pastor Allen is the Vice Moderator THE JOURNAL and District Missionary of the Winding DESIGNATION OF THE SPEAKER The SPEAKER pro tempore. The Gulf District Association. He has PRO TEMPORE Chair has examined the Journal of the served as Supply Minister to many The SPEAKER pro tempore laid be- last day’s proceedings and announces area churches and does extensive work fore the House the following commu- to the House her approval thereof. in the evangelistic field. nication from the Speaker: Pursuant to clause 1, rule I, the Jour- Pastor Allen is also the founding WASHINGTON, DC, nal stands approved. Bishop of Tsidkenu Ministries, a State- February 9, 2005. f chartered outreach ministry. In addi- I hereby appoint the Honorable JO ANN tion, Pastor Allen is the President of EMERSON to act as Speaker pro tempore on PLEDGE OF ALLEGIANCE the Christian Ministers Alliance of this day. The SPEAKER pro tempore. Will the Beckley, West Virginia, and vicinity. J. DENNIS HASTERT, gentleman from Indiana (Mr. PENCE) He is married to Gloria J. -
By Alice Childress Directed by Irene Lewis
Next Stage Resource Guide Jumping Through Hoops © Scott G. Brooks By Alice Childress Directed by Irene Lewis Feb 2–Mar 4, 2007 The Pearlstone Theater Irene Lewis artistic Director michael ross Managing Director contents Setting the Stage 2 Cast 3 Alice Childress: Life in Print 4 The Good Old, Bad Old Days 7 Ham on Wry 9 Reel to Real 11 Glossary 13 Bibliography 17 Trouble in Mind by Alice Childress Irene Lewis Director David Korins Scenic Designer catherine Zuber Costume Designer rui rita Lighting Designer In case of emergency David Budries Sound Designer (during performances only) 410.986.4080 Box office Phone 410.332.0033 Box office fax 410.727.2522 Deena Burke Dialect Coach administration 410.986.4000 www.centerstage.org catherine sheehy Production Dramaturg [email protected] The CenTerSTaGe Program is published by: CENTERSTaGe associates Janet foster Casting Director 700 north Calvert Street Baltimore, Maryland 21202 editor aaron Heinsman contributors Shannon M. Davis, Catherine Sheehy art Direction/Design Bill Geenen PLease turn off or sILence Design Jason Gembicki all eLectronIc DevIces. advertising sales aaron Heinsman: 410.986.4016 CENTERSTAGE operates under an agreement between LORT and Actors’ Equity Association, the union of professional actors and stage managers in the United States. The Director and Choreographer are Sponsored by Supported by members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists, Local USA-829 of the IATSE. Global Lead CenterStage is a constituent of Theatre Communications Management Consulting Group (TCG), the national organization for the nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters. -
Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts
University of Massachusetts Boston ScholarWorks at UMass Boston American Studies Faculty Publication Series American Studies 5-2017 Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts Judith E. Smith University of Massachusetts Boston, [email protected] Follow this and additional works at: https://scholarworks.umb.edu/amst_faculty_pubs Part of the African American Studies Commons, American Studies Commons, Theatre History Commons, and the Women's Studies Commons Recommended Citation Smith, Judith E., "Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts" (2017). American Studies Faculty Publication Series. 14. https://scholarworks.umb.edu/amst_faculty_pubs/14 This Conference Proceeding is brought to you for free and open access by the American Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in American Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts |Paper presented for a panel, “Home Matters,” at the American Literature Association Conference, Boston MA, May 25-28, 2017 Judith E. Smith American Studies University of Massachusetts Alice Childress’s performing career in the 1940s was primarily associated with the American Negro Theater, a collectively run professional theater company with a mission to nurture black talent and create compelling theater for Harlem audiences; as Childress would later comment, “We thought we were Harlem’s theater.” ANT made use of all available resources to accomplish this mission; producing plays written by black and white playwrights, hiring white teachers, and accepting white actors and technicians committed to its goals. -
Black Laughter / Black Protest: Civil Rights, Respectability, and The
©2008 Justin T. Lorts ALL RIGHTS RESERVED !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 by Justin T. Lorts A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Ann Fabian and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey October 2008 ABSTRACT OF THE DISSERTATION ! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 !by Justin T. Lorts !Dissertation Director: ! Ann Fabian ! Black Laughter / Black Protest explores the relationship between comedy and the modern civil rights movement. In the early years of the -
ALH Online Review, Series XIX 1 Jonathan Shandell, the American Negro Theatre and the Long Civil Rights Era (Iowa City: Universi
ALH Online Review, Series XIX 1 Jonathan Shandell, The American Negro Theatre and the Long Civil Rights Era (Iowa City: University of Iowa Press, 2018), 213 pp. Reviewed by Ilka Saal, University of Erfurt, Germany Jonathan Shandell’s book offers an invaluable contribution to the mapping of American and African American theater history. It sketches out with admirable erudition and great care the nearly decade-long work, from 1940 to 1949, of “Harlem’s preeminent theatrical organization,” the American Negro Theatre, or the ANT (1). Few scholars have undertaken a sustained critical investigation of this company’s influential work; groundbreaking in this regard was a 1975 dissertation by Ethel Louise Pitts Walker, “The American Negro Theatre, 1940-49, on whose trail-blazing work Shandell builds. On the basis of original documents, like the ensemble’s constitution, bylaws, program notes, financial records as well as correspondences and tape recordings, he reconstructs the history of the company, tracing its genesis and evolution, philosophy, and organizational structure. He also analyzes the politics and aesthetics of several of its plays and considers the company’s afterlife in the work of artists and ensembles during the subsequent decades—up to the present. In this manner, Shandell contributes significantly to filling one of the prominent gaps in theater historiography, a period that has frequently been neglected in light of the greater attention paid, on the one hand, to the Negro Little Theatre movement and the performance culture of the Harlem Renaissance (1910s through 1920s) as well as the Federal Theatre Project (1930s) and, on the other hand, to the plays by Lorraine Hansberry and Alice Childress of the 1950s and 60s, along with the Black Arts Movement of the 1960s and 70s. -
Black Theatre Insights
Black History Month & Theatre Insights 1 Purpose: As a way to acknowledge, highlight, celebrate, uplift, and honor the past and present Black theatre artists who have contributed so much to our theatre canon, I thought it would be worthwhile in creating daily emails to be sent throughout the month of February which consisted of a fact, artist, and play of the day. These daily emails culminated in a Black History Month Play Exchange on February 27th, as an event and space for folks to come together to give and share presentations on their chosen play from the list of plays sent out over the course of the month. It is my hope that we take the spirit of widening our knowledge of our theatre history and work towards making known the contributions of all the marginalized groups who have been critical in cementing the foundation of the theatre we all enjoy today. Acknowledgments: Thank you to Adarian Sneed for helping me create this idea during those late zoom calls on those cold, lonely winter break nights where we just laughed, existed, and bolstered one another’s creative thoughts. Thank you to the Anthony Aston Players for allowing me the space to use your listserv as a way to spread this knowledge and history. Thank you to Leslie Spencer and Sierra Browning for helping contribute some of the artist spotlights. I am forever grateful to all the kind emails I received from folks in support of this project as it truly made these emails an important part of my daily routine. -
Romine Final Final Dissertation
“Into the Mainstream and Oblivion”: Julian Mayfield's Black Radical Tradition, 1948–1984 by David Tyroler Romine Department of History Duke University Date:_______________________ Approved: ___________________________ Adriane Lentz-Smith, Supervisor ___________________________ Sarah Deutsch ___________________________ Ronald Williams II ___________________________ Timothy Tyson ___________________________ William Chafe Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2018 ABSTRACT “Into the Mainstream and Oblivion”: Julian Mayfield's Black Radical Tradition, 1948-1984 by David Tyroler Romine Department of History Duke University Date:_______________________ Approved: ___________________________ Adriane Lentz-Smith, Supervisor ___________________________ Sarah Deutsch ___________________________ Ronald Williams II ___________________________ Timothy Tyson ___________________________ William Chafe An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of Duke University 2018 Copyright by David Tyroler Romine 2018 Abstract “Into the Mainstream and Oblivion” is a study of the intellectual and political biography of the African American writer and political activist Julian Hudson Mayfield. As a member of the black Left, Mayfield’s life of activism and art bring the complex network of artists, activists, -
Amas Repertory Theatre: Passing As Black While Becoming White
AMAS REPERTORY THEATRE: PASSING AS BLACK WHILE BECOMING WHITE by JEAN H. SIDDEN A DISSERTATION Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2014 DISSERTATION APPROVAL PAGE Student: Jean H. Sidden Title: Amas Repertory Theatre: Passing as Black While Becoming White This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theater Arts by: Theresa J. May Chairperson John B. Schmor Core Member Lori Hager Core Member Mark Whalan Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Jean Hartley Sidden iii DISSERTATION ABSTRACT Jean H. Sidden Doctor of Philosophy Department of Theater Arts June 2014 Title: Amas Repertory Theatre: Passing as Black While Becoming White Amas Repertory Theatre was founded in 1969 by Rosetta LeNoire, an African American actress who pursued a mission of developing original musicals while practicing interracial casting. The company’s most successful show was Bubbling Brown Sugar (1975). Throughout Amas’s history LeNoire’s complicated perspective on what constituted discrimination sometimes caused her casting choices to be questioned. LeNoire believed in a colorblind theatre and society, however, as the decades passed, her colorblind perspective was challenged by neo-conservative philosophy which states that in a colorblind society no particular group should receive any more privilege than another. -
The Arena Players, Inc.: the Oldest Continuously Operating African American Community Theatre in the United States
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 3-30-2021 The Arena Players, Inc.: The Oldest Continuously Operating African American Community Theatre in the United States Alexis Michelle Skinner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the African American Studies Commons, Cultural History Commons, Leadership Studies Commons, Oral History Commons, Other Theatre and Performance Studies Commons, Recreation, Parks and Tourism Administration Commons, Social Justice Commons, and the Theatre History Commons Recommended Citation Skinner, Alexis Michelle, "The Arena Players, Inc.: The Oldest Continuously Operating African American Community Theatre in the United States" (2021). LSU Doctoral Dissertations. 5521. https://digitalcommons.lsu.edu/gradschool_dissertations/5521 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE ARENA PLAYERS, INC.: THE OLDEST CONTINUOUSLY OPERATING AFRICAN AMERICAN COMMUNITY THEATRE IN THE UNITED STATES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Theatre by Alexis Michelle Skinner B.A., Temple University, 2002 M.A., Goldsmiths, University of London, 2005\ May 2021 © 2021 Alexis Michelle Skinner ii these pages are for my parents. Laura Anne Gibbs Skinner (12/13/1946-6/21/2020) & Michael William Skinner (11/4/1941-11/7/2013), & our ancestors that came before and beside us, known and unknown.