Theatre Topics
Volume 19, Number 1, March 2009
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E-ISSN: 1086-3346 Print ISSN: 1054-8378
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Table of Contents
Your Subscribed ContentSpecial Issue: Teaching African American Theatre
Harvey Young, Guest Editor
Introduction: Black Plays
pp. xiii-xviii
Teaching African American Dance / History to a “Post-Racial” Class: Yale’s Project O
pp. 1-14
Addressing “The Complex”-ities of Skin Color: Intra-Racism and the Plays of Hurston, Kennedy, and Orlandersmith
pp. 15-27
Teaching A Day of Absence “at [your] own risk”
pp. 29-38
Joe Turner’s Come and Gone: An Experiment in “Race-Conscious” Casting
pp. 39-49
The Wisdom of “Worldliness”: Bringing African American Theatre and Drama into Existing Course Syllabi
pp. 51-58
Diversifying African American Drama
pp. 59-66
Insert [Chitlin Circuit] Here: Teaching an Inclusive African American Theatre Course
pp. 67-76
A Pedagogical Approach to Understanding Rioting as Revolutionary Action in Alice Childress’s Wine in the Wilderness
pp. 77-85
Magic, Royalty, and Inheritance: Teaching Wilson’s King Hedley II and Shakespeare’s Prince Hamlet Together
pp. 87-93
Encountering Black Culture in Acting Classrooms and Beyond
pp. 95-102
Subject Headings:
A View from the Middle: Teaching Nineteenth-Century African American Theatre and Performance
pp. 103-108
Book Reviews
Acting the Song: Performance Skills for the Musical Theatre, and: Acting in Musical Theatre: A Comprehensive Course (review)
pp. 111-112
The Architecture of Drama: Plot, Character, Theme, Genre, and Style (review)
pp. 112-113
Master Classes in the Michael Chekhov Technique (review)
pp. 113-114
Arthur Miller’s Death of a Salesman, and: Caryl Churchill’s Top Girls, and: John Osborne’s Look Back in Anger, and: Patrick Marber’s Closer (review)
pp. 114-115