DOCSLIB.ORG

Brooklyn Bedroom: an Ethnodrama on Female Sexuality, Third World Feminism and Performance Ethnography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brooklyn Bedroom: an Ethnodrama on Female Sexuality, Third World Feminism and Performance Ethnography University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2018 Brooklyn Bedroom: An Ethnodrama on Female Sexuality, Third World Feminism and Performance Ethnography Ayshia Stephenson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Film and Media Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Performance Studies Commons Recommended Citation Stephenson, Ayshia, "Brooklyn Bedroom: An Ethnodrama on Female Sexuality, Third World Feminism and Performance Ethnography" (2018). Doctoral Dissertations. 1293. https://doi.org/10.7275/11923472.0 https://scholarworks.umass.edu/dissertations_2/1293 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. BROOKLYN BEDROOM: AN ETHNODRAMA ON FEMALE SEXUALITY, THIRD WORLD FEMINISM AND PERFORMANCE ETHNOGRAPHY A Dissertation Presented by AYSHIA E. STEPHENSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2018 Department of Communication © Copyright by Ayshia E. Stephenson 2018 All Rights Reserved Brooklyn Bedroom: An Ethnodrama on Female Sexuality, Third World Feminism & Performance Ethnography A Dissertation Presented By AYSHIA E. STEPHENSON Approved as to style and content by: _________________________________________________ Leda Cooks, Chair _________________________________________________ Anne Ciecko, Member _________________________________________________ Priscilla Page, Member _________________________________ Mari Castañeda, Department Head Department of Communication DEDICATION To my loving mother. ACKNOWLEDGMENTS I would like to thank my husband, my sisters, Leda Cooks, Anne Ciecko, Priscilla Page, Martin Norden, Gilbert McCauley, and Willow Cohen. I would also like to thank the UMass Arts Council, Brian Moore-Ward and Performing Fusion Theatre. v ABSTRACT BROOKLYN BEDROOM: AN ETHNODRAMA ON FEMALE SEXUALITY, THIRD WORLD FEMINISM AND PERFORMANCE ETHNOGRAPHY MAY 2018 AYSHIA E. STEPHENSON, B.A., UNIVERSITY OF MA BOSTON M.A., THE CALIFORNIA INSTITUTE OF ARTS Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Leda Cooks Brooklyn Bedroom is a performance that interrogates societal perceptions of race and sexuality. I have utilized the writing of the performance as my method; the performance is an act of Third World feminist resistance and liberation. Storytelling is the type of research preferred by many black female playwrights. A type of qualitative inquiry, ethnodramatic work forms a bridge between individual stories and social issues affecting society with the goal of socio-political change. The source of reality for this ethnodrama is the Rose family, their history was a catalyst for the writing of Brooklyn Bedroom. I have explored their stories to investigate the relationships between women, sexuality, desire and healing. This ethnodrama integrates elements of both screen and stage and it is a performance which resists hegemonic representations of sexuality (see video of live performance). This narrative carves spaces for women who have experienced trauma to move beyond pain. The play and its rationale are theoretically rooted in Third World feminism and performance ethnography, including research from the likes of Audre Lorde, Gloria Anzaldúa, Norman Denzin, bell hooks, Jonny Saldana, and D. Soyini Madison, and the creative cultural production of Julie Dash, the women filmmakers of Filming Desire: A Journey Through Women's Cinema (here-in-after Filming vi Desire), Lynn Nottage, Adrienne Kennedy, Ntozake Shange, Zeinabu Irene Davis, Trinh Minh-ha, and Hye Jung Park. vii CONTENTS Page ACKNOWLEDGEMENTS................................................................................................. v ABSTRACT ...................................................................................................................... vi CHAPTER I. BROOKLYN BEDROOM .................................................................................... 1 II. LETTER ............................................................................................................... 65 III. REFLECTION ..................................................................................................... 67 A. Brooklyn Bedroom: An Ethnodrama ............................................................... 69 B. What Keeps Me Up At Night .......................................................................... 72 C. Performance Ethnography & The Call to Narrative ........................................ 79 D. Exploring The Real: Ethnodrama & Cultural Specificity ............................... 83 E. Writing as Resistance & Female Sexuality ..................................................... 96 F. Reflexivity: U.S. Third World Feminists Write Together ............................. 107 G. Liminal Spaces: The Bedroom, Poetry & Film ............................................. 110 H. Conclusion ..................................................................................................... 116 APPENDICES A. STATEMENT OF SIGNIFICANCE .......................................................................... 121 B. BACKGROUND ON THEORETICAL FRAMEWORK .......................................... 145 C. LITERATURE REVIEW ............................................................................................... 160 D. MORE ON METHOD ................................................................................................ 198 E. CONTRIBUTION TO THE FIELD ........................................................................... 217 F. CONCLUSION FOR THE PROJECT ........................................................................ 225 G. PRODUCTION CREDITS ........................................................................................ 228 BIBLIOGRAPHY ........................................................................................................... 230 viii CHAPTER I BROOKLYN BEDROOM Setting: Now. A bedroom. Tally's bedroom. There’s a queen-sized bed center stage and a projector screen upstage. There is a dressing screen on the other side of the bed. In some instances, the projector screen is a window to the past. Otherwise the screen is a window that indicates the time of day and passage of time; it shows either an image of the same Brooklyn brownstones during the day, dusk, or night. Characters Tally Rose: Black woman. Dark skinned. 25. Slender. Shoulder length (or longer) afro/natural hair. Puts care into her appearance. Loves pearls, blazers and jeans. Family: Mother: (Josephine), dark skinned. 65, short natural hair, she looks soft and is in shape for her age. She loves to dress comfortably, often wearing color coordinated sweat pants/shirt (that fit her and are never baggy) or a turtle neck and jeans. Lisa: Tally’s sister. Dark skinned. 40. Petite body. Big smile. Likes long wigs/weaves, flashy jewelry. Shows a little cleavage, likes tight fitting clothing. Jacqui: Tally’s sister. Dark skinned. 45. Overweight but shapely figure. Wears dresses, could have big breasts or a large derriere or both, veers to the conservative side (i.e. doesn’t show cleavage) Eric Smith: 32, white, tall, lean, handsome in a Western sense. Worker (in film and live performance): Jamaican. Male. Muscular or stocky build. 19. Man (John): 45, white male, lean/muscular/gorgeous in a Western sense. *The scenes are in parenthesis because they only function as markers, the action in this one-act play should be continuous. ** There is no nudity in this play, brassiere/underwear are fine. 1 (Scene I) The bedroom lights flicker, then go dark. Somewhere a girl is screaming. Light slowly comes up from the center of the screen and expands slowly for a silent film: there’s a little black girl with pigtails laughing, full of joy. She’s sitting at a lunch table with other little girls. They are wearing pink and burgundy uniforms. Fried dumplings are in their hands, they are stuffing it with the salt fish and ackee on their plates. Lights come up on the bed. TALLY is tossing and turning. On screen, the little girl gets up to take her tray to the back of the cafeteria. The rack is full. A kitchen worker calls to her from the side door with his index finger. She walks over. He must be pointing to something and she steps into the small storage room. He locks the door behind her. He pushes her onto the dusty floor. The tray and food in her hand splatter and then we get a close up of her big brown eyes. Screen out. The bedroom lights flicker. TALLY: No! No, please no! (Jumping out of the bed) Beat. It’s night time in Brooklyn. The bedroom door opens slowly. LISA’s head pokes in. MOTHER pushes by her, swings the door open, and turns on the light. The Family rushes to the bed. FAMILY: Tally!! MOTHER hugs TALLY and JACQUI and LISA join for a group hug. TALLY: Heyyy...I must have dozed off (wiping eyes)… Didn’t see you guys when I came in… JACQUI: We were out shopping for you! 2 MOTHER: Damn Jacqui! Get out the way so I can hug my daughter. TALLY: Hi mom! She picks her mother up and squeezes her. MOTHER: Hello! TALLY: How are you? MOTHER: Well,
Load more

Recommended publications
  • Reflection on Directing Adrienne Kennedy
    A Reflection on Directing the Plays of Adrienne Kennedy While an undergraduate at Harvard in the late 1980's, I first encountered the plays of Adrienne Kennedy in Bob Scanlan's American Drama Since 1945 course. I was immediately drawn to Kennedy's Funnyhouse of a Negro for its surreal, oneiric imagery and powerful -- even painful -- exploration of race and identity. I was haunted by the play's vivid depiction of a fractured consciousness and the terrible toll of endemic racism on the central character, Sarah. Scanlan's essay "Surrealism as Mimesis: A Director's Guide to Funnyhouse of A Negro" remains one of the most valuable works of exegesis on this complex dramatic work, and studying the play with him in depth fanned the flames of my fascination. I vowed that someday I would stage Adrienne Kennedy's vision. When it was announced that Adrienne Kennedy would be coming to Harvard the following year to teach playwriting, I was overwhelmed with anticipation. Having heard that she would only accept the first twelve students to walk through the door, I showed up two hours early for the first day of classes. I was second in line. Studying the art of playwriting with Adrienne was one of the most profound and formative experiences of my creative life. Adrienne inspires by example, and under her tutelage, the students in the class were encouraged to mine our dreams -- the imagery, emotions, memories, fears, and desires of our subconscious minds -- for material to inspire deeply personal drama. Adrienne's course opened up a whole world of possibility for me, and with her encouragement, I dared to broach a new frontier of artistic expression that married language, imagery, action, and emotion in new and exhilaratingly unexpected ways.
    [Show full text]
  • A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2002 A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays. Bonny Ball Copenhaver East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Copenhaver, Bonny Ball, "A Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays." (2002). Electronic Theses and Dissertations. Paper 632. https://dc.etsu.edu/etd/632 This Dissertation - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays A dissertation presented to the Faculty of the Department of Educational Leadership and Policy Analysis East Tennessee State University In partial fulfillment of the requirements for the degree Doctor of Education in Educational Leadership and Policy Analysis by Bonny Ball Copenhaver May 2002 Dr. W. Hal Knight, Chair Dr. Jack Branscomb Dr. Nancy Dishner Dr. Russell West Keywords: Gender Roles, Feminism, Modernism, Postmodernism, American Theatre, Robbins, Glaspell, O'Neill, Miller, Williams, Hansbury, Kennedy, Wasserstein, Shange, Wilson, Mamet, Vogel ABSTRACT The Portrayal of Gender and a Description of Gender Roles in Selected American Modern and Postmodern Plays by Bonny Ball Copenhaver The purpose of this study was to describe how gender was portrayed and to determine how gender roles were depicted and defined in a selection of Modern and Postmodern American plays.
    [Show full text]
  • Reading and Writing As Transformative Action in Maria Irene Fornes’ and Adrienne Kennedy’S Plays
    READING AND WRITING AS TRANSFORMATIVE ACTION IN MARIA IRENE FORNES’ AND ADRIENNE KENNEDY’S PLAYS by Insoo Lee B.A. in English Literature, Seoul National University, 1995 B.F.A.in Playwriting, Korea National University of Arts, 2001 M.A. in Theatre Art, Miami University, Ohio, 2004 Submitted to the Graduate Faculty of Dietrich School of Arts and Science in partial fulfillment of the requirements for the degree of Doctor of Philosophy. University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCE This dissertation was presented by Insoo Lee It was defended on April 16, 2012 and approved by Kathleen E. George, PhD, Professor Attilio Favorini, PhD, Professor Bruce McConachie, PhD, Professor Susan Z. Andrade, PhD, Associate Professor Dissertation Advisor: Kathleen E. George, PhD, Professor ii Copyright © by Insoo Lee 2012 iii READING AND WRITING AS TRANSFORMATIVE ACTION IN MARIA IRENE FORNES’ AND ADRIENNE KENNEDY’S PLAYS Insoo Lee, PhD University of Pittsburgh, 2012 This dissertation examines Maria Irene Fornes’ and Adrienne Kennedy’s plays, focusing on the female characters’ act of reading and writing on stage. Usually, reading and writing on stage are considered to be passive and static, but in the two playwrights’ works, they are used as an effective plot device that moves the drama forward and as willful efforts by the female characters to develop their sense of identities. Furthermore, in contrast to the usual perception of reading and writing as intellectual processes, Fornes and Kennedy depict these acts as intensely physical and sensual. Julia Kristeva’s and Hélène Cixous’ poststructuralist psychoanalytic theories of language and female sexuality, and Gloria Anzaldúa’s theory of writing the body are the major theoretical framework within which I explore the two playwrights’ works.
    [Show full text]
  • Digital-Visual Stakeholder Ethnography Sarah Pink, Kerstin
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery Digital-Visual Stakeholder Ethnography Sarah Pink, Kerstin Leder Mackley, Nadia Astari and John Postill Abstract In this article we discuss how new configurations of stakeholders are implicated and can be conceptualised in digital-visual applied and public ethnography. We set the discussion in the context of the increasing calls for researchers to have impact in the world, and the ways that digital technologies are increasingly implicated in this. In doing so we situate ethnographic practice and stakeholder relationships within a digital-material world. To develop our argument we discuss examples of two recent digital video ethnography projects, developed in dialogue with anthropological theory, with online digital-visual applied and public dissemination outputs. As we show, such projects do not necessarily have one direct applied line, but rather can have multiple impacts across different groups of stakeholders. Keywords Digital ethnography; visual ethnography; applied practice; stakeholders in research; environmental sustainability; impact. Introduction In a context of ‘digital materiality’, whereby the digital and material can no longer be seen as separate elements of our everyday environments and practice (Pink, Ardevol and Lanzeni 2016) new forms of applied and public scholarship and practice are emerging. On the one hand, there are calls for academic researchers to have impact in the world, and on the other the possibilities of digital and visual technologies for ethnographic practice. We argue that attention to these shifts offers new possibilities for how we can understand and activate potential forms of impact for and with stakeholders, through new interdisciplinary theory-practice interfaces.
    [Show full text]
  • Woman As a Category / New Woman Hybridity
    WiN: The EAAS Women’s Network Journal Issue 1 (2018) The Affective Aesthetics of Transnational Feminism Silvia Schultermandl, Katharina Gerund, and Anja Mrak ABSTRACT: This review essay offers a consideration of affect and aesthetics in transnational feminism writing. We first discuss the general marginalization of aesthetics in selected canonical texts of transnational feminist theory, seen mostly as the exclusion of texts that do not adhere to the established tenets of academic writing, as well as the lack of interest in the closer examination of the features of transnational feminist aesthetic and its political dimensions. In proposing a more comprehensive alternative, we draw on the current “re-turn towards aesthetics” and especially on Rita Felski’s work in this context. This approach works against a “hermeneutics of suspicion” in literary analyses and re-directs scholarly attention from the hidden messages and political contexts of a literary work to its aesthetic qualities and distinctly literary properties. While proponents of these movements are not necessarily interested in the political potential of their theories, scholars in transnational feminism like Samantha Pinto have shown the congruency of aesthetic and political interests in the study of literary texts. Extending Felski’s and Pinto’s respective projects into an approach to literary aesthetics more oriented toward transnational feminism on the one hand and less exclusively interested in formalist experimentation on the other, we propose the concept of affective aesthetics. It productively complicates recent theories of literary aesthetics and makes them applicable to a diverse range of texts. We exemplarily consider the affective dimensions of aesthetic strategies in works by Christina Sharpe, Sara Ahmed, bell hooks, and Chimamanda Ngozi Adichie, who promote the idea of feminism as an everyday practice through aesthetically rendered texts that foster a personal and intimate link between the writer, text, and the reader.
    [Show full text]
  • Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
    ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. 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 Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 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.
    [Show full text]
  • Dr Strangelove Or How I Learned to Read Kubrick's
    DR STRANGELOVE OR HOW I LEARNED TO READ KUBRICK’S CONCEPTUAL UNIVERSE Laura Torrado Mariñas Universidade de Vigo Abstract Resumen The present paper intends to Este trabajo pretende explorar la explore Kubrick’s Dr Strangelove or película de Kubrick Dr Strangelove or How I Learned to Stop Worrying and How I Learned to Stop Worrying and Love the Bomb in light of his using a Love the Bomb, teniendo en cuenta una number of creative devices and some serie de convenciones creativas y features, such as the use of symmetry formales, como el uso de la simetría o de and lightning together with the la iluminación, así como la fascinación fascination with human psychology con la psicología humana y sus and its possibilities, which will be later posibilidades. Dichas convenciones explored and fully implemented in his aparecerán de nuevo plenamente more successful films, usually better desarrolladas en sus películas más considered by critics. Therefore, I will conocidas, mejor consideradas por la argue that some of the much- crítica. Por lo tanto, intentaré exponer acclaimed features of his better-known cómo algunas características de esas productions, such as the quest for producciones posteriores, tales como la humanity that will be developed in búsqueda de la humanidad que se 2001 or the preoccupation with double reflejará en 2001 o la preocupación que morals and human morality in general se mostrará en Eyes Wide Shut por la that will be put forward in Eyes Wide moralidad y la doble moral social están Shut are already present in Dr ya presentes en Dr Strangelove, Strangelove, conforming what I will empezando a configurar lo que he refer to as ‘Kubrick’s conceptual llamaré el ‘universo conceptual’ de universe’.
    [Show full text]
  • Experiencing Black Theater in America: a Handlist
    Experiencing Black Theater in America: A Handlist This past spring, Associate Professor of Theater Monica Ndounou taught a class made possible through an experiential learning seed grant from the Dartmouth Center for the Advancement of Learning. Titled, “The Making of 21st Century Exhibits: Curating a National Black Theater Museum/Institution,” the course was cross-listed with the Theater Department and African and African-American Studies Program. This class provided seventeen students an opportunity to learn about black theater history, scholarship and practice in the U.S. and abroad. In the process, students helped develop ideas and curated exhibits that represented a range of formats and platforms. As social media and academe become interdependent in the 21st-century digital era, the course enabled participants to imagine and implement exhibits for the museum as a digital and onsite space where national and international contributions to developing black theater can be shared with the larger public. This current exhibit, “Experiencing Black Theater in America,” is one facet of the experiential learning component of the class, which also included a visit to the National African American History and Culture Museum in Washington, D.C., the opportunity to work with the local community’s regional black theatre, JAG Productions, and a chance to attend events featuring choreographer Camille A. Brown during her spring 2019 Dartmouth residency. The majority of the documents in this exhibit come from the papers of Theater Professor Errol Hill, the first African-American educator to receive tenure at Dartmouth College. A Trinidadian native, Hill joined the faculty of Dartmouth’s Drama Department in 1968 and worked tirelessly here for thirty-five years before retiring in 1989.
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]
  • Black Theatre Movement PREPRINT
    PREPRINT - Olga Barrios, The Black Theatre Movement in the United States and in South Africa . Valencia: Universitat de València, 2008. 2008 1 To all African people and African descendants and their cultures for having brought enlightenment and inspiration into my life 3 CONTENTS Pág. ACKNOWLEDGEMENTS …………………………………………………………… 6 INTRODUCTION …………………………………………………………………….. 9 CHAPTER I From the 1950s through the 1980s: A Socio-Political and Historical Account of the United States/South Africa and the Black Theatre Movement…………………. 15 CHAPTER II The Black Theatre Movement: Aesthetics of Self-Affirmation ………………………. 47 CHAPTER III The Black Theatre Movement in the United States. Black Aesthetics: Amiri Baraka, Ed Bullins, and Douglas Turner Ward ………………………………. 73 CHAPTER IV The Black Theatre Movement in the United States. Black Women’s Aesthetics: Lorraine Hansberry, Adrienne Kennedy, and Ntozake Shange …………………….. 109 CHAPTER V The Black Theatre Movement in South Africa. Black Consciousness Aesthetics: Matsemala Manaka, Maishe Maponya, Percy Mtwa, Mbongeni Ngema and Barney Simon …………………………………... 144 CHAPTER VI The Black Theatre Movement in South Africa. Black South African Women’s Voices: Fatima Dike, Gcina Mhlophe and Other Voices ………………………………………. 173 CONCLUSION ………………………………………………………………………… 193 BIBLIOGRAPHY ……………………………………………………………………… 199 APPENDIX I …………………………………………………………………………… 221 APPENDIX II ………………………………………………………………………….. 225 5 ACKNOWLEDGEMENTS Writing this book has been an immeasurable reward, in spite of the hard and critical moments found throughout its completion. The process of this culmination commenced in 1984 when I arrived in the United States to pursue a Masters Degree in African American Studies for which I wish to thank very sincerely the Fulbright Fellowships Committee. I wish to acknowledge the Phi Beta Kappa Award Selection Committee, whose contribution greatly helped solve my financial adversity in the completion of my work.
    [Show full text]
  • Reference Works in British and American Literature Second Edition
    Reference Works in British and American Literature Second Edition James K. Bracken 1998 Libraries Unlimited, Inc. Englewood, Colorado Contents Acknowledgments xxix Fredrick Irving Anderson, 1877- Introduction xxxi 1947 10 Frequently Cited Works Maxwell Anderson, 1888-1959 .... 11 and Acronyms xxxvii Poul Anderson, 1926- 11 Sherwood Anderson, 1876-1941 ... 12 Andreas, late 9th century 13 Writers and Works Lancelot Andrewes, 1555-1626 ... 13 Lascelles Abercrombie, 1881-1938 . 1 Anglo-Saxon Chronicle, c. 1154 .... 13 Louis Adamic, 1899-1951 1 F. Anstey (Thomas Anstey Andy Adams, 1859-1935 1 Guthrie), 1865-1934 13 Henry (Brooks) Adams, 1838- Mary Antin (Grabau), 1881-1949 . 13 1918 1 John Arbuthnot, 1667-1735 14 John Turvill Adams, 1805-1882 .... 2 John Arden, 1930- 14 Leonie Adams (Fuller), 1899-1988 . 2 John Armstrong, 1709-1779 14 Oscar Fay Adams, 1855-1919 2 Martin Donisthorpe Armstrong, Samuel Hopkins Adams, 1871- 1882-1974 14 1958 2 Matthew Arnold, 1822-1888 14 Joseph Addison, 1672-1719 2 Harriette (Simpson) Arnow, 1908- George Ade; 1866-1944 3 1986 16 Aelfric, c. 955-c. 1010 3 T(imothy) S(hay) Arthur, 1809- James Agee, 1909-1955 3 1885 16 Conrad (Potter) Aiken, 1889- Nathan Asch, 1902-1964 16 1973 4 Sholem Asch, 1880-1957 16 William Harrison Ainsworth, Roger Ascham, 1515/16-1568 .... 16 1805-1882 4 John (Lawrence) Ashbery, 1927- ... 16 Mark Akenside, 1721-1770 4 Isaac Asimov, 1920-1992 17 Edward (Franklin) Albee, 1928- . 4- Gertrude (Franklin) Atherton, (Amos) Bronson Alcott, 1799-1888 . 5 1857-1948 17 Louisa May Alcott, 1832-1888 .... 5 William Attaway, 1911-1986 17 Richard (Edward Godfree) Margaret Atwood, 1939- 17 Aldington, 1892-1962 6 Louis (Stanton) Auchincloss, Thomas Bailey Aldrich, 1836-1907 .
    [Show full text]
  • MCQUIRTER-DISSERTATION.Pdf (1.828Mb)
    Copyright by Marcus Emil McQuirter 2012 The Dissertation Committee for Marcus Emil McQuirter Certifies that this is the approved version of the following dissertation HEARING VOICES IN THE DARK: DEPLOYING BLACK SONICITY AS A STRATEGY IN DRAMATIC PERFORMANCE Committee: Omi Osun Joni L. Jones, Supervisor Paul Bonin Pam Christian Stephen Gerald Meta DuEwa Jones HEARING VOICES IN THE DARK: DEPLOYING BLACK SONICITY AS A STRATEGY IN DRAMATIC PERFORMANCE by Marcus Emil McQuirter, BFA; MA 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 2012 Dedication To the love of my life, Brandy Nicole McQuirter. To my children Ezra Jacob McQuirter, Hannah Grace McQuirter, and Kaia Simone McQuirter. Acknowledgements First I want to thank my wife Brandy Nicole McQuirter for her patience when I was intolerable and her support when I was uncertain. From the beginning, she opened my heart to the world through her love, her intelligence, and her artistry. My intellectual pursuits are an extension of this inspiration in ways I fear I may never fully repay. Thank you. I also want to extend a special thanks to my family. I could not have finished this project without their support, especially that of all four of my parents, Kermit and Evelyn Walker, and James and Sue McQuirter. I have been blessed to have them in my life, and am truly thankful for their faith, love, and support. Words cannot express my gratitude to Professor Omi Osun Joni L.
    [Show full text]