By Harry J. Elam

ISBN-10: 0195127242

ISBN-13: 9780195127249

African-American functionality and Theatre background is an anthology of severe writings that explores the intersections of race, theater, and function in the United States. Assembled through revered students in black theater and composed of essays from said specialists within the box (Joseph Roach and Henry Louis Gates, Jr. between other), this quantity is geared up into 4 sections consultant of the methods black theater, drama, and function earlier and current engage and enact non-stop social, cultural, and political dialogues. the basis at the back of the booklet is that interpreting African-American theater and function traditions bargains perception into how race has operated and maintains to function in American society. the single one-volume selection of its variety, this quantity is probably going to develop into the primary reference for these learning black theater.

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More than 300 black theater scholars, theater practitioners, entrepreneurs, and community activists came together to discuss the future of black theater. Significantly, the summit led to the creation of a new national black theater organization, the African Grove Institute, named after the first documented black theater in this country, Mr. Brown’s African Grove Company (1821–1823). 12. Amritjit Singh, Joseph T. , and Robert E. Hogan, Memory & Cultural Politics (Boston: Northeastern University Press, 1996), 4.

4 In the case of Uncle Tom’s Cabin, this trope functions in its reinscription of already-held stereotypes, its elevation of stereotype to archetype, and, finally, the continued repetition of these images on the stage, which yield a cultural penetration that is so deep that, despite the fact that Uncle Tom’s Cabin is no 20 Social Protest and the Politics of Representation longer read widely, its stereotypical figures are well fixed in the American imagination. Although Stowe’s novel was immensely popular, the proliferation of the “Tom Shows” that followed the novel increased the potency and size of its stereotypes.

Even when Stowe creates a character explicitly called “Mammy,” she does not fulfill all the criteria of the mythic mammy. In Marie St. Clare, Stowe presents a failed motherhood, and Marie’s criticism of Mammy, whose devotion is clearly stronger than her own, serves to underscore that point. Mammy’s function for Stowe is to illustrate the deficiencies in Marie St. Clare’s character and to suggest that slavery may abuse blacks, but it also denigrates whites; this portrait underlies Morrison’stheses.

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African American Performance and Theater History: A Critical Reader by Harry J. Elam

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