Finding Aid to the Historymakers® Video Oral History with Armelia Mcqueen
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Shakespeare, Madness, and Music
45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed -
As They Liked It: the Tragical-Comical-Pastoral Drama of Elizabethan Theatre. Curriculum Projects. the Huntington
DOCUMENT RESUME ED 359 577 CS 508 215 TITLE As They Liked It: The Tragical-Comical-Pastoral Drama of Elizabetian Theatre. Curriculum Projects. The Huntington Theatre Company's Master Works Study in Shakespeare. INSTITUTION Huntington Theatre Co., Boston, MA. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. PUB DATE Feb 93 NOTE 422p.; Some of the handwritten and photocopied materials have several reproducibility problems. AVAILABLE FROMDirector of Education, Huntington Theatre Company, 264 Huntington Avenue, Boston, MA 02115. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC17 Plus Postage. DESCRIPTORS Class Activities; *Drama; *Dramatics; High Schools; Learning Activities; Lesson Plans; Teaching Methods; Units of Study IDENTIFIERS Elizabethan Drama; *Shakespeare (William) ABSTRACT Developed by the participants of the Huntington Theatre Company's Master Works Study in Shakespeare, this collection presents single lesson plans and unit plans for teaching Elizabethan drama. The collection presents 12 lesson plans (spanning one or a few days of instruction) and 15 unit plans (ranging over several weeks) suitable for secondary school students of varying ability levels. "Hamlet," "Romeo and Juliet," and "Julius Caesar" each are the subject of several of the lesson plans and unit plans. (RS) * ****************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** The Huntington Theatre Company's Master Works Study in Shakespeare As They Liked It: TheTragical-Comical-Pastoral Drama of Elizabethan Theatre Curriculum Projects February 2-April 13, 1993 This curriculum is made possible by a grantfrom the National Endowment for theHumanities. "PERMISSION TO REPRODUCE THIS U.S. -
William Branch
A Medal For Willie by William Branch was WILLIAM BRANCH originally produced by the Committee for the Negro and the Arts in 1951 at the Club Baron in Note: Branch's comments on African American theater extended Harlem. The morning after it opened, Mr. Branch to the present. For this report, only his remarks through the reported for induction into the United States 1950s have been excerpted. Army. his morning we are dealing with a number of different areas; Excerpt from A M edal for Willie my area happens to be the first African American community by William Branch theater. The first African American community theater? TWell, let me see, now, when could that have been? I suppose some of you would think, "Well, in terms of what history I know, that Scene 1 would be back in the Harlem Renaissance of the '20s or maybe a few years earlier." There have been people who have speculated on that (Lights come up revealing Mrs. Jackson seated to some extent. Unfortunately, some of them have been vastly, at a table while her daughter, Lucy Mae, vastly wrong. applies a hot pressing comb to her hair. The In 1988, Richard Bernstein, writing in the New York Times, on table is spread with newspaper, upon which Sunday, March 27 — in case any of you are interested in looking it stands a small mirror, a hot plate, a box of up — in an article entitled, "August Wilson's Voices From the Past," hairpins, and a jar of "Dixie Peach" pomade. wrote the following: "The tradition of a Black American theater is Mrs. -
Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date. -
Portraying the Soul of a People: African Americans Confront Wilson’S Legacy from the Washington Stage
Portraying the Soul of a People: African Americans Confront Wilson’s Legacy From the Washington Stage BLAIR A. RUBLE CONTENTS African Americans Confront Wilson’s Legacy 3 From the Washington Stage 6 From Mask to Mirror The Washington 8 Antilynching Plays A Child of Howard 10 University Returns Confronting Racist 12 Stage Traditions 14 Singing Our Song From Drama Club to 17 Theater Company A Theater Born at 20 Howard A University-based Strategy for a 23 New Theater Universities over 24 Commerce 27 Playing before the World 30 The Emperor Jones 34 University Drama 38 The New Negro 41 Board Intrigues Campus and 45 Community Plays of Domestic 50 Life 53 Saturday Night Salons Changing of the 55 Guard A Scandinavian Prince of Another 59 Hue 64 Curtain Call 65 About the Author 66 Acknowledgements 68 Notes Still there is another kind of play: the play that shows the soul of a people; and the soul of this people is truly worth showing. —Willis Richardson, 19191 2 PORTRAYING THE SOUL OF A PEOPLE Portraying the Soul of a People: African Americans Confront Wilson’s Legacy From the Washington Stage BLAIR A. RUBLE | Distinguished Fellow n 1903, a twenty-year-old journalist who would go on to a distinguished career in journalism, diplomacy, and politics—future US minister to Liberia, Lester Aglar Walton—excitedly told the readers of The Colored I 2 American Magazine of African American successes on stage. “The outlook for the Negro on the stage is particularly bright and encouraging,” Walton began. “At no time have colored stage folk been accorded such consideration and loyal support from show managers, the press and the general public… Heretofore, colored shows have only found their way to New York theatres of minor importance; and the crowded houses invariable in evidence where ‘coon’ shows have played have been occasioned more by reason of the meritorious work of the performers than by the popularity of the playhouses.” To Walton’s mind, “catchy music, mirth-provoking dialogue and mannerisms void of serious lines” had ensured the success of recently produced “coon”shows. -
The Journal of Shakespeare and Appropriation 11/21/19, 12'56 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/21/19, 12'56 PM ISSN 1554-6985 VOLUME I · NUMBER 1 (/current) SPRING/SUMMER 2005 (/previous) Shakespeare in the American South (/about) EDITED BY (/archive) Christy Desmet and Sujata Iyengar CONTENTS S HAKESPEARE AND THE DUKE The Duke's Man: Ellington, Shakespeare, and Jazz Adaptation Terence (/781405/show) (pdf) (/781405/pdf) Hawkes Minstrelsy, Jazz, Rap: Shakespeare, African American Music, Douglas and Cultural Legitimation (/782016/show) (pdf) (/782016/pdf) Lanier Stephen Form and Character in Duke Ellington's and Billy Strayhorn's M. Such Sweet Thunder (/781406/show) (pdf) (/781406/pdf) Buhler Swingin' Shakespeare From Harlem to Broadway Fran (/781407/show) (pdf) (/781407/pdf) Teague Jazz, Shakespeare, and Hybridity: A Script Excerpt from Alan Swingin' the Dream Corrigan (/781411/show) (pdf) (/781411/pdf) http://borrowers.uga.edu/7148/toc Page 1 of 3 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/21/19, 12'56 PM P ERFORMING RACE / GENDER IN THE OLD AND N EW SOUTH They Were Always Doing Shakespeare: Southern Actresses and Robin Shakespearean Appropriation (/781416/show) (pdf) Warren (/781416/pdf) The Old and New South: Shakespeare in Margaret Mitchell's Darlene Gone With the Wind (/781418/show) (pdf) (/781418/pdf) Ciraulo Confession; or, the Blind Heart: An Antebellum Othello Christy (/781419/show) (pdf) (/781419/pdf) Desmet C LASS AND COUNTRY IN THE CONTEMPORARY S OUTHEAST A Way of Life Worth Preserving? Identity, Place, and Sharon Commerce -
Acknowledgments
ACKNOWLEDGMENTS s Harry Berger has shown in his acknowledg- ments at the beginning of Making Trifles of A Terrors, the act of acknowledging is emotion- ally laden for Shakespeareans because of Stanley Cavell’s 1969 essay on King Lear called “The Avoidance of Love.” I do not want to avoid; therefore, I first acknowledge the inspiration of the late Tay Gavin Erickson, especially for my interest in the visual. I have received help from many directions, and I am particularly grateful to the Shakespeareans engaged in race studies who have built the intellectual realm in which I currently dwell. Scholars whose work has enabled me to feel the energizing sense of participating in this collective project include Dympna Callaghan, Kim Hall, Arthur Little, Ania Loomba, Joyce Green MacDonald, Patricia Parker, Francesca Royster, and Ayanna Thompson. I could not have made it this far without the support of Jean Howard, Coppélia Kahn, and Virginia Vaughan. During the final stages of completing this book, I greatly benefited from three-month research fellowships at the Clark Art Institute, whose visiting scholars program is led by Michael Holly, and at the Folger Shakespeare Library, directed by Gail Kern Paster. The rich intellectual and social mix at each institution has been a special pleasure. Marathon critic Harry Berger has kept me going with the extraordinary example of his staying power—from him I have gleaned what it means to be committed for the 172 Acknowledgments long haul, to go the distance. Now dispersed in distant locations and fields, my three children continue to be my mainstays and I greet them from within the pages of this book. -
A History of the Development of the Educational Theatre in Negro Collegesand Universities from 1911 to 1959
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1959 A History of the Development of the Educational Theatre in Negro Collegesand Universities From 1911 to 1959. Floyd Leslie Sandle Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sandle, Floyd Leslie, "A History of the Development of the Educational Theatre in Negro Collegesand Universities From 1911 to 1959." (1959). LSU Historical Dissertations and Theses. 569. https://digitalcommons.lsu.edu/gradschool_disstheses/569 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A HISTORY OF THE DEVELOPMENT OF THE EDUCATIONAL THEATRE IN NEGRO COLLEGES AND UNIVERSITIES FROM 1911 TO 1959 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 Department of Speech by Floyd Leslie Sandle A.EL* Dillard University* 1937 M.A.* University of Chicago* 19U7 August* 1959 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Ackno wle dg ement The writer wishes to acknowledge gratefully the counselling and guidance of Dr. Claude L. Shaver throughout the preparation of this manuscript. He wishes also to acknowledge the careful reading and editing of the manuscript by Dr. Waldo W. Braden and Dr. -
2021 African American Booklist
2021 AFRICAN AMERICAN BOOKLIST AFRICAN AMERICAN THEATRE: An Historical Review 2021 AFRICAN AMERICAN BOOKLIST The Detroit Public Library has published its African American Booklist for more than 50 years. This bibliography provides a selected list of books by and/or about African Americans. The works of fiction and nonfiction for adults, children and young adults were reviewed and recommended by librarians of the Detroit Public Library. The African American Booklist began as a way to commemorate Black History Month and since that time has continued to feature the accomplishments of African Americans in the literary world. Our booklist has become an annual tradition in the community and beyond, and continues to be a highly anticipated publication for book lovers all across the nation. JUVENILE-TEENS ADULT LITERATURE AFRICAN AMERICAN SELECTION COMMITTEE SELECTION COMMITTEE BOOKLIST PRODUCTION Stephanie Fazekas-Hardy Stacy Brooks Khamisi Benford Chairperson Co-Chairperson Kathryn Dowgiewicz Dorothy Hamilton Christine Peele A.J. Funchess Co-Chairperson Co-Chairperson Alma Simmons Amisha Harijan Taneca Chapman Mills Mary Masasabi Kalana Cooper Chinyere Olumba Tracy Massey Cover Art: The cover art is used with permission from the Detroit Public Theatre. It was the playbill cover for the DPT’s 2019 production of Dominique Morisseau’s Paradise Blue. 2 | 2021 AFRICAN AMERICAN BOOKLIST TABLE OF CONTENTS BLACK NATIONAL ANTHEM 4 FROM OUR EXECUTIVE DIRECTOR 5 DOMINIQUE MORISSEAU: 7 REPRESENTING THE “D” WITH CREATIVITY AND EXCELLENCE AFRICAN AMERICAN -
2017 Annual Report
MAKING LIFE MORE VIVID EMBARKING ON THE NEXT SHAKESPEAREAN CENTURY ANNUALFOLGER ANNUAL REPORT REPORT 20171 4 12 18 CREATING TRANSFORMING DRIVING EXPERIENCES EDUCATION DISCOVERY TABLE OF CONTENTS FROM THE CHAIR AND DIRECTOR 1 On the Cover: Ultraviolet images of Folger Folio no. 75 helped scholars identify the CREATING EXPERIENCES 4 faded “Constanter” above Shakespeare’s head as the TRANSFORMING EDUCATION 12 mark of Dutch diplomat, poet, and book collector Constantine Huygens. It is the earliest known DRIVING DISCOVERY 18 First Folio to leave England. INSPIRING APPLAUSE: OUR DONORS 24 FINANCIALS 30 DISCOVER2 MAKING LIFE MORE VIVID MORE AT FOLGER.EDU manuscript transcriptions, we’re developing new resources for understanding Shakespeare and his world and new ways to access them. Connecting students with Shakespeare’s plays and poems remains one of our greatest responsibilities—and pleasures. Working closely with teachers and professors, we are building the tools and community needed to transform Shakespeare education in American schools and colleges. Our humanities programming supports continued learning after the classroom. Our resources, much like our peerless and ever-expanding collection, spark conversations and drive new discoveries. Researchers come to our reading rooms from around the world to research not only Shakespeare but the entirety of the early modern world. In support of the needs of 21st-century scholarship, we are piloting new programs in collaborative research across disciplines, adding fellowships, and building new resources, from databases to digital anthologies. From the Chair and Director Recent successes, along with our strategic plan, have chal- lenged us to think more closely about how we will realize the Folger’s mission in the years to come. -
Black Theatre Survey 2016-2017
August Wilson’s Seven Guitars featuring Cameron Knight and Michelle Wilson Plowshares Theatre Company (2004) BLACK THEATRE SURVEY 2016-2017 A REPORT ON THE HEALTH OF BLACK THEATRE IN AMERICA Prepared by: Gary Anderson, Artistic Director, Plowshares Theatre Company June 14, 2018 BLACK THEATRE SURVEY 2016-2017 TABLE OF CONTENT Statement of Purpose ..........................................................................................2 Acknowledgements .............................................................................................3 Notes on Methodology ........................................................................................4 Introduction.......................................................................................................... 5 Early History and Legacy .....................................................................................6 Summary of Study Findings................................................................................. 9 Current Demographic Trends .............................................................................16 Conclusion .........................................................................................................18 Timing of A Plan for Change ..............................................................................20 Strategy to Address Individual Giving ...............................................................21 Successful Grassroots Fundraising Models ......................................................23 Black Theatre History -
Finding Aid to the Historymakers ® Video Oral History with Armelia Mcqueen
Finding Aid to The HistoryMakers ® Video Oral History with Armelia McQueen Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: McQueen, Armelia Title: The HistoryMakers® Video Oral History Interview with Armelia McQueen, Dates: April 3, 2008 Bulk Dates: 2008 Physical 6 Betacame SP videocasettes (2:51:31). Description: Abstract: Actress Armelia McQueen (1952 - ) performed in Broadway musicals like 'Ain't Misbehavin,' 'Jesus Christ Superstar,' and 'Hair.' Her film and television credits included 'Sparkle,' 'Ghost,' and 'Living Single.' McQueen was interviewed by The HistoryMakers® on April 3, 2008, in Los Angeles , California. This collection is comprised of the original video footage of the interview. Identification: A2008_072 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Actress Armelia McQueen was born on January 6, 1952 in Southern Pines, North Carolina to James and Kathleen McQueen. McQueen's parents divorced, and her mother married Robert Brown in New York. As a child, McQueen was raised in Brooklyn, New York where she performed in church plays. She attended P.S. 44 and P.S. 258 and graduated from New York City’s Central Commercial High School in 1969. Afterwards, McQueen briefly enrolled at the Fashion Industry School, where she majored in fashion design. In 1972, she attended the Herbert Berghoff Drama School. McQueen’s acting career began when she was hired for a role in the production of, Hot & Cold Heroes. She was then hired in 1976 for the role of Tune Ann in the cult classic film Sparkle.