Download PDF by Annemarie Bean: A Sourcebook on African-American Performance: Plays, People,

By Annemarie Bean

ISBN-10: 0415182344

ISBN-13: 9780415182348

A Sourcebook on African-American Performance is the 1st quantity to think about African-American functionality among and past the Black Arts stream of the Nineteen Sixties and the recent Black Renaissance of the 1990s.
As with all titles within the Worlds of Performance sequence, the Sourcebook includes vintage texts in addition to newly commissioned items by way of impressive students, writers and performers. It contains the performs 'Sally's Rape' through Robbie McCauley and 'The American Play' via Suzan-Lori Parks, and is derived entire with a considerable, ancient advent by means of Annemarie Bean.
Articles, essays, manifestos and interviews integrated hide subject matters such as:
* theatre at the expert, innovative and school stages
* live performance dance
* neighborhood activism
* step shows
* functionality art.
Contributors contain Annemarie Bean, Ed Bullins, Barbara Lewis, John O'Neal, Glenda Dickersun, James V. Hatch, Warren Budine Jr. and Eugene Nesmith.

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A Sourcebook on African-American Performance: Plays, People, by Annemarie Bean PDF

A Sourcebook on African-American functionality is the 1st quantity to think about African-American functionality among and past the Black Arts flow of the Sixties and the hot Black Renaissance of the Nineties. as with every titles within the Worlds of functionality sequence, the Sourcebook comprises vintage texts in addition to newly commissioned items via amazing students, writers and performers.

Additional resources for A Sourcebook on African-American Performance: Plays, People, Movements

Example text

A little. But the hardest thing for me to understand was that all you black people would even live in these conditions. Well. You know. Everybody has had ghettos but they built theirs up and there was respect there. Here. There is none of that. CHARLES: How right you are my man. C’mon in Jimmy and Roland. We just talking to pass some time. Of course, getting back to your statement, I think the reason that the black man hasn’t made it—you ain’t Irish are you? —is a color thing—I mean even though the Irish were poor they were still white—but as long as white people hate because of a difference in color, then they ain’t gonna let the black man do too much.

What the fuck is it? LARRY: A white dude. A cop. An almighty fuzz. Look. I thought they were paid enough to stay out of Harlem tonight, (turns to cop) Man. Now just what you doing here spying on us, huh? WHITE COP: Spying? What do you mean spying? You see. Well you know how it is. , I stopped by. Well. I was just leaving but this guy and another one taking someone upstairs saw me—pulled a gun on me and brought me out here. CHARLES: What building and what apartment were you visiting my man? WHITE COP: No.

BLACK MAN: Aw shut up. (He makes to hit. She draws ice pick. Freeze in tableau. ) BLACK COP: I’m not a killer but I ain’t afraid’a nuthin. I ain’t no cold killer. But I ain’t afraid’a nuthin. I’ll burn your ice ass. But I’m a good guy, kids. YOUNG BOY: Cop. ALL: We want to report a murder. We want to report a murder. You’re killin us, snot rags. BLACK MAN: Scabs! (turns around, starts to stalk imaginary bank-jewelry shop) OK, throw up your hands. Bastards. Flags. Help eyes. Blonde Jewish freaky softee.

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A Sourcebook on African-American Performance: Plays, People, Movements by Annemarie Bean


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