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The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
Community in August Wilson and Tony Kushner
FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay. -
Copyright by Charles Patrick Tyndall 2002
Copyright by Charles Patrick Tyndall 2002 The Dissertation Committee for Charles Patrick Tyndall Certifies that this is the approved version of the following dissertation: August Wilson’s Play Cycle: A Healing Black Rage for Contemporary African Americans Committee: Ann Daly, Supervisor Oscar G. Brockett Charlotte Canning Joni L. Jones Stacy Wolf August Wilson’s Play Cycle: A Healing Black Rage for Contemporary African Americans by Charles Patrick Tyndall, B.A., M.A. DISSERTATION Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY The University of Texas at Austin May 2002 Acknowledgements First and foremost, I would like to thank God, without whom I would not have been able to complete this endeavor. I must acknowledge my supervisor, Ann Daly, for her tireless devotion to this project. Thank you for helping me with my transition from student to scholar. You know I could not have done this without your support, tenacity, dedication, and humor. Thank you to my committee members, for making an insane process pretty painless. I appreciate the immense knowledge that you brought to this experience, both in and out of the classroom. I would like to acknowledge my family, especially: Mom, Dad, Chris, and Carl, for helping to shape me into the person I am today. Much thanks to my friends: Lana Williams, Richard Perry, C. Francis Blackchild, and Jacqueline E. Lawton, for enduring the madness with me! Much appreciation to the Department of Theatre and Dance at the University of Texas at Austin and the Drama department at the University of Arkansas – Fayetteville, where I currently teach, for all of the support offered to me. -
Play Analysis THEA 2100 Spring 2019 Dr. Amy Cuomo Office
Play Analysis THEA 2100 Spring 2019 Dr. Amy Cuomo Office: 202C Martha Munro Phone: 678-838-4703 e-mail: [email protected] Office Hours Office Hours: M-TH 3:30-6 Martha Munro Class 11:00-12:15; Paff 204 Course Description The ability to effectively analyze theatrical texts is essential to scholars and practitioners alike. In this class, students will dissect a script into its basic components to better understand structure, style, theme, and other essential elements of theatre. Students will also survey representative historical genres, styles of theatrical texts, and methods of literary and dramatic criticism, as well as receive an introduction to theatre- specific research methods and resources. The course will emphasize academic analysis, but applications to theatrical production contexts will be encouraged. UWG Essential Information http://www.westga.edu/assetsDept/vpaa/Common_Language_for_Course_Syllabi.pdf Performance REQUIRED – Home – Townsend Center for the Performing Arts - February 20-24; W-S @7:30 p.m. Sun @ 2:30 p.m. She Kills Monsters – Townsend Center for the Performing Arts - April 15-20; T-S 7:30 p.m. NO SUNDAY PERFORMANCE! NOTE: If you are a theatre major you must attend strike and load in; failing to do so may result in a deduction of five points from your letter grade for each missed event. Course Den Available from UWG’s main page www.westga.edu through the link Online Learning. If you need help, contact [email protected] or 678-839-6248 or go to the After Hours Helpdesk available 24 hrs a day/ 7 days a week - go to http://help8.view.usg.edu and click on Request Support. -
AUGUST WILSON: the GROUND on WHICH I STAND a Documentary Presented by AUGUST WILSON’S WQED Multimedia and the PBS Series, American Masters
AUGUST WILSON: THE GROUND ON WHICH I STAND A documentary presented by AUGUST WILSON’S WQED Multimedia and the PBS series, American Masters Premiering February 2015*… August Wilson: The Ground On Which I Stand details 10-PLAY CENTURY CYCLE August Wilson’s unexpected rise from humble beginnings 1966 and adversity to create a 10-play cycle about African American life — a groundbreaking achievement in theater Rise of the Black Power 1865 1896 Movement history. From the 1980s into the first decade of the 21st century, Wilson was the most produced playwright both 13th Amendment to the Plessy v. Ferguson 1965 Constitution ratified, upholds racial 1995 1990s 1986 1980s on Broadway and in regional theaters. His unprecedented prohibiting slavery segregation and Voting Rights Act 10-play Century Cycle (also known as the Pittsburgh Cycle) Million Man March Martin Luther King establishes “separate KING HEDLEY II outlawed discrimination helped launch the careers of countless actors and earned but equal” RADIO GOLF Jr. Day is declared a 1968 in the voting process national holiday in An ex-convict tries to rebuild Wilson two Pulitzer Prizes. Harmond Wilks has ambitious the U.S. his life, family, and sense of plans to redevelop the Hill District, but Dr. Martin Luther King, Jr. self in a community plagued clashes with his partner over whether is assassinated A native of Pittsburgh’s Hill District where all but one with violence and prejudice. to deny the past in the name of Civil Rights Act outlaws housing of the plays in the Cycle are set, Wilson put the joys, development, or to preserve the Hill’s history. -
An Interview with American Playwright August Wilson
AUGUST WILSON/ Tibbetts/ 1! AN INTERVIEW WITH AMERICAN PLAYWRIGHT AUGUST WILSON By John C. Tibbetts Interviews on 30 April and 3 May 2002 Raphael Hotel and Hallmark Corporate Headquarters, Kansas City MO TIBBETTS INTRODUCTION TO INTERVIEW: August Wilson was born Frederick August Kittel in 1945 in Pittsburgh, Pennsylvania’s Hill District, an area famous for the many black performers who began their careers there—Lena Horne, Erroll Garner, Ahmad Jamal, Earl (Fatha) Hines, and Billy Eckstine. The fourth child of six children of a baker and a cleaning woman (whose maiden name was Wilson), he was an avid reader and displayed early on a gift and a passion for poetry. But the world of theatre eventually claimed him, and he co-founded the Black Horizons Theatre in 1968 and turned to playwriting in earnest. He moved to St. Paul, Minnesota in 1978, where he began writing Ma Rainey’s Black Bottom, a play about the struggle between black musicians and their white bosses in the 1920s, and Jitney, whose story was set at a taxi stand on the Hill. Wilson’s career was launched when his work came to the attention of Lloyd Richards, an experienced director and head of the Yale Drama School Thus began a creative partnership that has lasted to the present day. Ma Rainey debuted on Broadway in 1984 and was a sensational success. Despite the fact that there were many esteemed black playwrights working at the time—Amiri Baraka, Ron Milner, Richard Wesley, Ed Bullins, and Phillip Hayes Dean, to cite just a few—no African-American plays had hitherto been successful on Broadway. -
The Piano Lesson
THE PIANO LESSON Synopsis The Piano Lesson is set in Pittsburgh in 1936. Boy Willie has come to his uncle’s house to retrieve a piano that holds significant historical and sentimental value to the family. A battle ensues over the possession of the piano, which carries the legacy and opportunities of the characters and determines the choices they must make. Characters AVERY: Thirty-eight years old, Avery is a preacher who is trying to build up his congregation. He is honest and ambitious, finding himself opportunities in the city that were unavailable to him in rural areas of the South. While fervently religious, he manages to find the time to court Berniece after her husband’s death. BOY WILLIE: Brother to Berniece, Boy Willie is a thirty year old brash, impulsive, and fast-talking man. He has an infectious grin and a boyishness that is apt for his name. His story provides the central conflict for the play in that he plans to sell the family piano in order to buy land that his family worked on as slaves. He feels it’s important he does this in order to avenge his father, who grew up property-less— but not everyone in the family agrees. LYMON: Boy Willie’s long time friend is a twenty-nine year old who speaks little, but when he does with a disarming straight-forwardness. As he flees the law, he makes a plan to begin anew in the North. Eliciting stories from the families past, Lymon proves a vehicle by which we learn about the family. -
Kennedy Center Education Department. Funding Also Play, the Booklet Presents a Description of the Prinipal Characters Mormons
DOCUMENT RESUME ED 381 835 CS 508 902 AUTHOR Carr, John C. TITLE "Angels in America Part 1: Millennium Approaches." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95) NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 903-906. PUB TYPE Guides General (050) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Acquired Immune Defi-:ency Syndrome; Acting; *Cultural Enrichment; *Drama; Higher Education; Homophobia; Homosexuality; Interviews; Playwriting; Popular Culture; Program Descriptions; Secondary Education; United States History IDENTIFIERS American Myths; *Angels in America ABSTRACT This booklet presents a variety of materials concerning the first part of Tony Kushner's play "Angels in America: A Gay Fantasia on National Themes." After a briefintroduction to the play, the booklet presents a description of the prinipal characters in the play, a profile of the playwright, information on funding of the play, an interview with the playwright, descriptions of some of the motifs in the play (including AIDS, Angels, Roy Cohn, and Mormons), a quiz about plays, biographical information on actors and designers, and a 10-item list of additional readings. (RS) Reproductions supplied by EDRS are the best that can be made from the original document. ****):***:%****************************************************)%*****)%* -
The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's the Piano Lesson
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson Ingrid Marable University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Marable, Ingrid, "The Women Of August Wilson And A Performance Study And Analysis Of The Role Of Grace In Wilson's The Piano Lesson" (2009). Electronic Theses and Dissertations, 2004-2019. 4150. https://stars.library.ucf.edu/etd/4150 THE WOMEN OF AUGUST WILSON AND A PERFORMANCE STUDY AND ANALYSIS OF THE ROLE OF GRACE IN WILSON’S THE PIANO LESSON by INGRID A. MARABLE B.A. University of Virginia, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer 2009 © 2009 Ingrid A. Marable ii ABSTRACT In the fall of 2007, I was cast in the University of Central Florida’s production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. -
THE 3549 - the Theatre of African- American Liberation Movements in America
1 THE 3549 - The Theatre of African- American Liberation Movements in America Professor – Belinda (Be) Boyd • Phone – 407 – 823 -0872 • Email - [email protected] • Available for Questions - Monday, Wednesday, Friday 10 am -5pm EST, Tuesdays, Thursday from 5 – 7 and Saturdays 1pm-5pm EST. Enrollment Requirements Credit Hours: 3 Class Hours: 3 Prerequisite(s): None. Corequisite(s): None. Prerequisite(s) or Corequisite(s): Course Format Web based Academic Calendar Link https://calendar.ucf.edu/2020/spring UCF Library Link https://library.ucf.edu/ COURSE DESCRIPTION African Americans have historically used theatre as a way to generate and transmit political analysis, organize communities, and galvanize resistance. This course investigates the playwrights and plays that reflect the activism and empowerment of African Americans pre-civil rights to Black Lives Matter. 2 LEARNING OBJECTIVES • Explore and define the ways in which the sociopolitical issues and events of the Civil Rights Movement, Black Power Movement, and Black Lives Matter shaped African American theater and drama. • Discover and define the major African American figures who developed the rhetoric and philosophies of “black aesthetics.” • Develop an awareness of and define major modern and contemporary African American plays and playwrights that contributed to the liberation movements of African Americans. REQUIRED PLAYS The Dutchman Amiri Baraka/Leroi Jones For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf – Ntozake Shange In the Blood Suzan-Lori Parks Ruined Lynn Nottage The Colored Museum – George C. Wolfe Fires in the Mirror – Anna Deveare Smith Hands Up: 6 Playwrights: 6 Testaments by Nathan James, Nathan Yunberberg, Idris Goodwin, Glenn Gordon, Dennis Allen II, Eric Holmes *** A note about playscripts and videos. -
COMMUNITY in AUGUST WILSON and TONY KUSHNER By
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER By Copyright 2007 Richard Noggle Ph.D., University of Kansas 2007 Submitted to the Department of English and the Faculty of the Graduate School of the University of Kansas In partial fulfillment of the requirements for the degree of Doctor of Philosophy ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date defended ________________ 2 The Dissertation Committee for Richard Noggle certifies that this is the approved version of the following dissertation: FROM THE INDIVIDUAL TO THE COLLECTIVE: COMMUNITY IN AUGUST WILSON AND TONY KUSHNER Committee: ________________________ Chairperson, Maryemma Graham ________________________ Chairperson, Iris Smith Fischer ________________________ Paul Stephen Lim ________________________ William J. Harris ________________________ Henry Bial Date approved _______________ 3 ABSTRACT My study examines the playwrights August Wilson and Tony Kushner as “political” artists whose work, while positing very different definitions of “community,” offers a similar critique of an American tendency toward a kind of misguided, dangerous individualism that precludes “interconnection.” I begin with a look at how “community” is defined by each author through interviews and personal statements. My approach to the plays which follow is thematic as opposed to chronological. The organization, in fact, mirrors a pattern often found in the plays themselves: I begin with individuals who are cut off from their respective communities, turn to individuals who “reconnect” through encounters with communal history and memory, and conclude by examining various “successful” visions of community and examples of communities in crisis and decay. -
August Wilson and Pittsburgh's Hill District Betina Jones
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2011 "This Is Me Right Here": August Wilson and Pittsburgh's Hill District Betina Jones Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Jones, B. (2011). "This Is Me Right Here": August Wilson and Pittsburgh's Hill District (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/709 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Betina Jones May 2011 Copyright by Betina Jones 2011 “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT By Betina Jones Approved March 29, 2011 ________________________________ ________________________________ Linda Kinnahan, Ph.D. Anne Brannen, Ph.D. Professor of English Associate Professor of English Dissertation Director (Committee Member) ________________________________ Magali Michael, Ph.D. Professor of English (Committee Member) ________________________________ ________________________________ Christopher M. Duncan, Ph.D. Magali Michael, Ph.D. Dean, McAnulty College and Graduate Chair, Department of English School of Liberal Arts Professor of English iii ABSTRACT “THIS IS ME RIGHT HERE”: AUGUST WILSON AND PITTSBURGH‟S HILL DISTRICT By Betina Jones May 2011 Dissertation supervised by Linda Kinnahan, Ph.D.