scholarly journals O jogo do patriarcado em Um limite entre nós

2021 ◽  
Vol 29 (3) ◽  
Author(s):  
Débora Spacini Nakanishi ◽  
Cláudia Maria Ceneviva Nigro
Keyword(s):  
August Wilson

Resumo: O texto dramático pode admitir reflexões políticas variadas, acrescidas de intensidade, posto que o texto se materializa em performances. Neste artigo, trazemos uma crítica ao patriarcado fundamentada no feminismo negro, nos estudos de gênero e na interseccionalidade. A peça de teatro analisada é Um limite entre nós (em inglês, Fences), originalmente publicada em 1985, um texto pungente da literatura norte-americana criado pelo dramaturgo August Wilson (1945-2005). Na obra, o protagonista Troy encontra-se amarrado ao sistema racista americano, comportando-se conforme as regras rígidas do beisebol. No jogo, a esposa Rose tem pouquíssimas chances de vitória. Essa vida reduzida de Rose, apontada brilhantemente por Wilson, torna possível concebermos uma crítica à instituição da família e da sociedade capitalista ocidental sustentada no patriarcado.

August Wilson and Black Aesthetics

2004 ◽  
Author(s):  
Sandra Shannon ◽  
Dana Williams
Keyword(s):  
August Wilson ◽  
Black Aesthetics

August Wilson

2010 ◽  
Author(s):  
AUGUST WILSON
Keyword(s):  
August Wilson

The Evolution of American Dramatic Realism

2019 ◽  
pp. 505-526
Author(s):  
Eileen J. Herrmann
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Tennessee Williams ◽  
Arthur Miller ◽  
American Drama ◽  
August Wilson ◽  
David Mamet ◽  
Sam Shepard ◽  
Rachel Crothers ◽  
Susan Glaspell

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.

August Wilson and Greek Drama

2015 ◽  
Author(s):  
Kathryn Bosher ◽  
Fiona Macintosh ◽  
Justine McConnell ◽  
Patrice Rankine ◽  
Patrice Rankine
Keyword(s):  
August Wilson ◽  
Greek Drama

scholarly journals La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson

Le Simplegadi ◽  
2020 ◽  
Vol 18 (20) ◽  
pp. 147-161
Author(s):  
Valentina Rapetti
Keyword(s):  
Twentieth Century ◽  
African American ◽  
African Americans ◽  
Friedrich Nietzsche ◽  
Greek Tragedy ◽  
Black Aesthetic ◽  
August Wilson ◽  
Blues Music

Born in 1945 in Pittsburgh, Pennsylvania, August Wilson was the most prolific and represented African American playwright of the twentieth century. His Century Cycle, a series of ten plays that chronicle the lives of African Americans from the early 1900s to the late 1990s, is an expression of Wilson’s spiritual realism, a form of drama that, while adhering to some conventions of the Western realist tradition, also introduces elements of innovation inspired by blues music and Yoruba cosmology. This essay analyses the double cultural genealogy of Wilson’s work to show how, despite respecting the Aristotelian principle of mìmesis, his playwriting draws on a quintessentially black aesthetic. In conceiving of theatre as a ritualistic performative context where music and words intertwine, Wilson restored what Friedrich Nietzsche regarded as the authentic spirit of Greek tragedy – the harmony between Dionysian and Apollonian – while at the same time injecting an African American ethos into the Western theatrical canon.

scholarly journals El director de teatro y el suceso escénico: el caso de Lloyd Richards / The theater director and the scenic event: Lloyd Richards’ case

2016 ◽  
pp. 104
Author(s):  
Everett Dixon
Keyword(s):  
August Wilson

<p>Este artículo analiza el proceso de ensayo del gran director afro-americano Lloyd Richards (1919-2006), basado en entrevistas originales conducidas con colegas artísticos de Richards de todos los períodos de su trayectoria profesional, para mostrar la importancia de la dirección de Richards en transformar los sucesos narrativos de las obras de August Wilson en sucesos escénicos vitales mediante el uso magistral de tropos de la Significación afro-americana. Entre los artistas entrevistados se encuentran: Dwight Andrews, Stephen Henderson, Thomas Richards, Charles S. Dutton, Courtney B. Vance, Michele Shay, y otros.</p>

Two Notes on August Wilson: Wrestling against History

Theater ◽  
1988 ◽  
Vol 19 (3) ◽  
pp. 70-71
Author(s):  
Mei-Ling Cheng
Keyword(s):  
August Wilson

Critics on August Wilson

2007 ◽  
pp. 193-201
Author(s):  
David K. Sauer ◽  
Janice A. Sauer
Keyword(s):  
August Wilson
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