A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth.

2005 ◽  
Vol 46 (1) ◽  
pp. 127-129
Author(s):  
Harry Elam
Keyword(s):  
African American ◽  
The United States ◽  
Theatre History ◽  
American Theatre ◽  
Wide Range ◽  
Black Theatre ◽  
History Of ◽  
Definition Of ◽  
American Theatre History ◽  
Daunting Challenge

Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.

The Achievements of the Douglass Company in North America: 1758–1774

1982 ◽  
Vol 23 (2) ◽  
pp. 141-149 ◽  
Author(s):  
David D. Mays
Keyword(s):  
New York ◽  
North America ◽  
West Indies ◽  
Theatre History ◽  
The West ◽  
American Theatre ◽  
History Of ◽  
American Theatre History ◽  
A Company

On Monday, October 16, 1758., Hugh Gaine reported a novelty. “Friday last,” he told his readers in the New-York Mercury, “arrived here from the West Indies, a Company of Comedians; some Part of which were here in the Year 1753.” This brief notice, which went on to assure its readers that the company had “an ample Certificate of their Private as well as publick Qualifications,” marks the beginning of the most significant event in American theatre history: the establishment of the professional theatre on this continent. The achievements of the Company of Comedians during its sixteen-year residence in North America are virtually without parallel in the history of the theatre, and have not received sufficient recognition by historians and scholars.

From the Margins to Center Stage: Tyler Perry’s Popular African American Theatre

2016 ◽  
Author(s):  
Rashida Z. Shaw
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Cultural History ◽  
Theatre History ◽  
American Theatre ◽  
Center Stage ◽  
Black Performance ◽  
History Of

If Perry now functions as a platform onto himself, his career began with seemingly much less broad, but no less significant, aspirations. In her analysis of taste, class, and the popular, in Chapter TwoRashida D. Shaw places Tyler Perry’s career within the context of a Black performance and theatre history that extends back to the nineteenth century, as she centralizes the history of the “Chitlin Circuit” or “Urban Theatre.” After establishing a literary cultural history that frames and restages the popularity, appeal, and reception of Perry’s plays, Shaw’s analysis more closely explores the ramifications of Perry’s behind-the-scenes role and onstage presence at the 2012 Tony Awards during a year that resulted in numerous historic successes for not only African American theatre-makers, but also for African American–centric productions in general.

The Black Crook Myth

1966 ◽  
Vol 7 (1) ◽  
pp. 31-43
Author(s):  
Julian Mates
Keyword(s):  
Reference Point ◽  
Theatre History ◽  
American Theatre ◽  
Common Reference ◽  
Musical Comedy ◽  
History Of ◽  
American Theatre History

Dates and events are frequently useful scholarly pigeonholes into which may be neatly tucked whole periods of literature or significant literary trends. The scholar knows them to be oversimplifications, but so long as their limitations are recognized, they remain useful tools for teaching, talking, and writing. Occasionally, however, history is hung from a date so unreliable and so unjustified that delineation of material is blurred rather than clarified, traditions are obscured rather than illuminated, and fields of research are closed rather than opened. American theatre history affords a perfect example of the misused common reference point. The year 1866, with its production of The Black Crook, has been accepted as the landmark indicating the beginnings of American musical comedy. Cecil Smith, in Musical Comedy in America, says, “For all important purposes, the history of musical comedy in America starts with The Black Crook, as everyone has always said it did.”

The State of Research in American Theatre History

1981 ◽  
Vol 22 (2) ◽  
pp. 125-131
Author(s):  
Walter J. Meserve
Keyword(s):  
General Condition ◽  
The State ◽  
Theatre History ◽  
Popular Entertainment ◽  
American Theatre ◽  
History Of ◽  
State Of Research ◽  
The Many ◽  
American Theatre History ◽  
Insight Into

In the “last analysis” the concern must always be for insight. Saul Bellow made it a demand: “Now I want insight.” So, too, should the reader of theatre history. Unfortunately, in the vast majority of recently published material on American theatre history that demand is not being met. Among the many young scholars researching and writing on this subject, few appear even to aspire to that mastery of the material which will produce major scholarship. The old guard persists, but today's youthful historians of American theatre tend toward an annual birth and death pattern rather than perennial growth. Obviously, such an observation should not be construed as an adverse criticism of all existing scholarship; yet, it does describe a general condition of research in American theatre history. There are surveys, general observations, memoirs, descriptions, expository and critical essays on various topics, studies of theatres and playwrights, essays on popular entertainment and ethnic or racial theatre. Some of these publications contribute meaningfully to an understanding of American theatre; few, however, suggest insight into the history of that theatre.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

Religion, Race, and Humanism

2018 ◽  
Author(s):  
Anthony B. Pinn
Keyword(s):  
United States ◽  
African American ◽  
African Americans ◽  
Richard Wright ◽  
Institutional Development ◽  
The United States ◽  
Unitarian Universalist ◽  
Racial Injustice ◽  
History Of ◽  
Lorraine Hansberry

This chapter explores the history of humanism within African American communities. It positions humanist thinking and humanism-inspired activism as a significant way in which people of African descent in the United States have addressed issues of racial injustice. Beginning with critiques of theism found within the blues, moving through developments such as the literature produced by Richard Wright, Lorraine Hansberry, and others, to political activists such as W. E. B. DuBois and A. Philip Randolph, to organized humanism in the form of African American involvement in the Unitarian Universalist Association, African Americans for Humanism, and so on, this chapter presents the historical and institutional development of African American humanism.

Etiology of Ventricular Septal Defects: An Epidemiologic Approach

PEDIATRICS ◽  
1985 ◽  
Vol 76 (5) ◽  
pp. 741-749
Author(s):  
Thomas B. Newman
Keyword(s):  
The United States ◽  
Incidence Rates ◽  
Identical Twins ◽  
Random Errors ◽  
Ventricular Septal Defects ◽  
Metabolic Disturbances ◽  
Cardiac Morphogenesis ◽  
Septal Defects ◽  
Wide Range ◽  
History Of

To investigate the recent 150% increase in the reported incidence of ventricular septal defects (VSDs) in the United States, the epidemiology of ventricular septal defects was examined. The apparent incidence of VSDs is highly dependent on case finding methods, and more complete diagnosis and reporting probably account for the increase in reported incidence. Variations in case ascertainment also account for the small differences in incidence in studies from different places. The several known risk factors for VSD, including a family history of congenital heart disease and exposure to certain drugs, infectious agents, and maternal metabolic disturbances, explain few cases. Incidence rates are similar in different races and seasons and are unrelated to maternal age, birth order, sex, and socioeconomic status. VSDs occur naturally in a wide range of mammals and in birds, which also have four-chambered hearts. Despite identical genes and similar prenatal environments, the concordance rate in identical twins is only about 10%. The consistency of incidence among individuals with widely differing genes and environments and the frequency of discordance in identical twins suggest that VSDs often occur as random errors in development, at a frequency largely determined by the complexity of normal cardiac morphogenesis. This hypothesis has two major implications: many VSDs are not preventable and parents need not feel responsible for VSDs in their children.

The Oxford Handbook of Quintilian

2021 ◽  
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Performing Arts ◽  
Late Antiquity ◽  
The United States ◽  
Educational Programme ◽  
Theory And Practice ◽  
Visual And Performing Arts ◽  
Wide Range ◽  
History Of

M. Fabius Quintilianus was a prominent orator, declaimer, and teacher of eloquence in the first century ce. After his retirement he wrote the Institutio oratoria, a unique treatise in Antiquity because it is a handbook of rhetoric and an educational treatise in one. Quintilian’s fame and influence are not only based on the Institutio, but also on the two collections of Declamations which were attributed to him in late Antiquity. The Oxford Handbook of Quintilian aims to present Quintilian’s Institutio as a key treatise in the history of Graeco-Roman rhetoric and its influence on the theory and practice of rhetoric and education, from late Antiquity until the present day. It contains chapters on Quintilian’s educational programme, his concepts and classifications of rhetoric, his discussion of the five canons of rhetoric, his style, his views on literary criticism, declamation, and the relationship between rhetoric and law, and the importance of the visual and performing arts in his work. His huge legacy is presented in successive chapters devoted to Quintilian in late Antiquity, the Middle Ages, the Italian Renaissance, Northern Europe during the Renaissance, Europe from the Eighteenth to the Twentieth Century, and the United States of America. There are also chapters devoted to the biographical tradition, the history of printed editions, and modern assessments of Quintilian. The twenty-one authors of the chapters represent a wide range of expertise and scholarly traditions and thus offer a unique mixture of current approaches to Quintilian from a multidisciplinary perspective.

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