Contemporary African American Women Playwrights: A Casebook (review)
Notice bibliographique
Résumé
Reviewed by: Contemporary African American Women Playwrights: A Casebook Dana A. Williams Philip C. Kolin, ed. Contemporary African American Women Playwrights: A Casebook. Casebooks on Modern Dramatists Series. London: Routledge, 2007. Pp. v +207. $120.00 (Hb). Contemporary African American Women Playwrights is a welcome addition to the field of scholarship on black women playwrights. Despite the obvious and overwhelming impact they have had on American theatre, on African American theatre, on American and African American culture and literature in general, too little attention has been paid to their contributions. There are few single-authored books that focus on a single playwright, and there are even fewer single-authored books that focus on black women playwrights collectively. Although it is a collection of essays rather than a book with a single author, as the first critical volume to examine this cadre of writers, Contemporary African American Women Playwrights is perhaps a step in that direction. Excepting David Krasner’s essay on Gloria Douglas Johnson, Zora Neale Hurston, Marita O. Bonner, and Lorraine Hansberry, which attempts to provide a historical context for the emergence of contemporary black women playwrights, each of the essays in the collection focuses on a particular dramatist. Krasner chooses Johnson, Hurston, and Bonner as representative writers who connect Hansberry to the Harlem Renaissance; subsequently, he recognizes Hansberry as a foremother to contemporary black women playwrights. Especially useful is his commentary about Johnson’s interaction with Alain Locke and his engagement with the performance aspect of Hurston’s plays. Soyica Diggs’s essay on Alice Childress offers a thoughtful and important commentary on Childress’s anticipation of the Black Arts Movement and on the ways Childress’s plays can be used to investigate performance in general and the performance of race in particular. Jacqueline Wood’s essay on Sonia Sanchez examines Sanchez’s role in the development of black women’s dramatic literature. Wood focuses on Sanchez’s militant dramas in particular, with useful close readings of Sister Son/ji; Uh Huh, But How Do it Free Us?; Dirty Hearts; and I’m Black When I’m Singing, I’m Blue When I Ain’t. An Adrienne Kennedy scholar, Kolin contributes to the collection a sharp essay on Kennedy, with close readings of Kennedy’s plays, paying special attention to the historical context out of which they emerge. James Fisher’s essay on Ntozake Shange presents a good examination of Shange’s dramatic works and articulates the influence of her works on subsequent plays and dramatic forms, while Beth Turner’s essay on Pearl Cleage offers a revealing analysis of selected Cleage plays, unveiling Cleage’s under-examined role as a playwright. Brandi Wilkins Catanese’s [End Page 131] essay focuses on Aishah Rahman’s plays. Catanese offers a close reading of Unfinished Women Cry in No Man’s Land While a Bird Dies in a Gilded Cage, but she also discusses a number of Rahman’s other full-length plays in her discussion of three recurrent themes in Rahman’s works –black iconography, black spirituality, and black gender politics. Freda Scott Giles contributes an important essay on Glenda Dickerson and her works, highlighting how Dickerson has not only moved between, but brought together, the academy and the professional theatre. Giles also traces Dickerson’s academic and cultural development as a playwright and director and engages with the historical underpinnings that inform Dickerson’s plays. Joan Wylie Hall’s essay on Anna Deveare Smith examines Smith’s theatre pieces as attempts to encourage audiences to identify with the “other.” Hall examines race and gender in Smith’s Fires in the Mirror, culture in Twilight: Los Angeles, 1992, and history in House Arrest. Debby Thompson traces Suzan-Lori Parks’s emergence as a playwright and offers “archeological readings” (invoking Foucault) of Parks’s plays, in general, and of Venus, in particular. Sandra Shannon’s essay on Lynn Nottage identifies recurring themes in Nottage’s plays, with a cursory look at selected plays. Shannon’s interview with Nottage discusses Nottage’s thoughts about being labelled an African American playwright, her understanding of the need for balance between entertainment and political artistry, her relation to Yale’s school of drama and...
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Prédiction distillée sur la base complète
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Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,003 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».