In this Book

Black Theatre
summary
Generating a new understanding of the past—as well as a vision for the future—this path-breaking volume contains essays written by playwrights, scholars, and critics that analyze African American theatre as it is practiced today.Even as they acknowledge that Black experience is not monolithic, these contributors argue provocatively and persuasively for a Black consciousness that creates a culturally specific theatre. This theatre, rooted in an African mythos, offers ritual rather than realism; it transcends the specifics of social relations, reaching toward revelation. The ritual performance that is intrinsic to Black theatre renews the community; in Paul Carter Harrison's words, it "reveals the Form of Things Unknown" in a way that "binds, cleanses, and heals."

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. vii-ix
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  1. Praise/Word
  2. pp. 1-10
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  1. Part I: African Roots
  2. p. 11
  1. Introduction
  2. pp. 13-17
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  1. Roots in African Drama and Theatre
  2. pp. 18-38
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  1. The African Heritage of African American Art and Performance
  2. pp. 39-63
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  1. Agones: The Constitution of a Practice
  2. pp. 64-87
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  1. What the Twilight Says: An Overture
  2. pp. 88-107
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  1. Caribbean Narrative: Carnival Characters—In Life and in the Mind
  2. pp. 108-114
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  1. Rebaptizing the World in Our Own Terms: Black Theatre and Live Arts in Britain
  2. pp. 115-128
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  1. Part II: Mythology and Metaphysics
  2. p. 129
  1. Introduction
  2. pp. 131-139
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  1. The Fourth Stage: Through the Mysteries of Ogun to the Origin of Yoruba Tragedy
  2. pp. 140-152
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  1. The Candombl
  2. pp. 153-166
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  1. Legba and the Politics of Metaphysics: The Trickster in Black Drama
  2. pp. 167-180
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  1. Art for Life’s Sake: Rituals and Rights of Self and Other in the Theatre of Aimé Césaire
  2. pp. 181-208
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  1. Sycorax Mythology
  2. pp. 209-226
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  1. Conjuring as Radical Re/Membering in the Works of Shay Youngblood
  2. pp. 227-235
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  1. Archetype and Masking in LeRoi Jones/Amiri Baraka’s Dutchman
  2. pp. 236-244
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  1. Part III: Dramaturgical Practice
  2. p. 245
  1. Introduction
  2. pp. 247-250
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  1. The Dramaturg’s Way: Meditations on the Cartographer at the Crossroads
  2. pp. 251-256
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  1. Introduction to Moon Marked and Touched by Sun
  2. pp. 257-272
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  1. Kennedy’s Travelers in the American and African Continuum
  2. pp. 273-284
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  1. Mojo and the Sayso: A Drama of Nommo That Asks, “Is Your Mojo Working?”
  2. pp. 285-295
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  1. Ritual Poetics and Rites of Passage in Ntozake Shange’s for colored girls who have considered suicide/when the rainbow is enuf
  2. pp. 296-310
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  1. Part IV: Performance
  2. p. 311
  1. Introduction
  2. pp. 313-315
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  1. Form and Transformation: Immanence of the Soul in the Performance Modes of Black Church and Black Music
  2. pp. 316-331
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  1. The Sense of Self in Ritualizing New Performance Spaces for Survival
  2. pp. 332-344
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  1. Barbara Ann Teer: From Holistic Training to Liberating Rituals
  2. pp. 345-377
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  1. Bopera Theory
  2. pp. 378-381
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  1. From Hip-Hop to Hittite: Part X
  2. pp. 382-387
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  1. Members and Lames: Language in the Plays of August Wilson
  2. pp. 388-396
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  1. Porque Tu No M’entrende? Whatcha Mean You Can’t Understand
  2. pp. 397-399
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  1. Performance Method
  2. pp. 400-408
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  1. Afterword: Testimony of a Witness
  2. pp. 409-414
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  1. About the Contributors
  2. pp. 415-418
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