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Informationen zum Autor Henry D. Miller is a veteran of the 1960s and 1970s black theatre movement. A director and playwright, he has written broadly about American theatre. Klappentext The rich history of African-American theatre has often been overlooked, both in theoretical discourse and in practice. This volume seeks a critical engagement with black theatre artists and theorists of the twentieth century. It reveals a comprehensive view of the Art or Propaganda debate that dominated twentieth century African-American dramatic theory. Among others, this text addresses the writings of Langston Hughes, W.E.B. DuBois, Alain Locke, Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy, Sidney Poitier, and August Wilson. Of particular note is the manner in which black theory collides or intersects with canonical theorists, including Aristotle, Keats, Ibsen, Nietzsche, Shaw, and O'Neill.A critical examination of black theatre artists and theorists of the twentieth century. Among others, it analyses the works of Langston Hughes, W.E.B Dubois, Alain Locke, Lorraine Hansberry, Amiri Baraka, Adrienne Kennedy, Sydney Poitier, and August Wilson. Inhaltsverzeichnis Table of ContentsAcknowledgments viiiForeword by James V. Hatch Preface Introduction I. The Dawn of Black Dramatic Theory and the Art or Propaganda Debate Goes Public, 1898-1916 II. "The New Negro" and the High Harlem Renaissance: Core of 20th Century Black Dramatic Theory, 1917-1929 III. Black Theory in the Great Depression and Beyond, 1930-1949, Part I IV. Black Theory in the Great Depression and Beyond, 1930-1949, Part II V. Civil Rights vs. Integration and the Persistence of Art-Theatre Drama, 1950-1959 VI. The Rise of Black Arts Theory and the Persistence of Art-Theatre Drama, 1960-1965 VII. Back to the Future: Conclusion Chapter Notes Bibliography Index
