Waters Wisdoms: Honoring and Reclaiming Indigenous and Ancestral Practices in the Face of Climate Disaster is a film that centers Indigenous American and African embodied epistemologies as a response to the global climate crisis, in particular sea level rise. this film intends to honor global Indigenous embodied knowledges, the process of reclaiming ancestral heritages, and recognition of/reconnection to the harmony of the earth and our place not just within but as nature – toward viable futurity together.
{"title":"Waters Wisdoms: Honoring and Reclaiming Indigenous and Ancestral Practices in the Face of Climate Disaster","authors":"Ann Mazzocca Bellecci","doi":"10.2458/tbtr.6054","DOIUrl":"https://doi.org/10.2458/tbtr.6054","url":null,"abstract":"Waters Wisdoms: Honoring and Reclaiming Indigenous and Ancestral Practices in the Face of Climate Disaster is a film that centers Indigenous American and African embodied epistemologies as a response to the global climate crisis, in particular sea level rise. this film intends to honor global Indigenous embodied knowledges, the process of reclaiming ancestral heritages, and recognition of/reconnection to the harmony of the earth and our place not just within but as nature – toward viable futurity together.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"120 46","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140378672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
the Black Theatre Review takes up the theme of environmentalism for Vol. 2.2. The contributors to this issue and some of the agents they cover through their work offer readers several considerations for why theatre as a medium is an important mode through which to explore this theme, namely its power to raise awareness about environmental issues, spark dialogue and encourage audiences to act within their communities.
{"title":"Editor-in-Chief: Introduction to the Black Theatre Review, Environmentalism","authors":"O. Green","doi":"10.2458/tbtr.6055","DOIUrl":"https://doi.org/10.2458/tbtr.6055","url":null,"abstract":"the Black Theatre Review takes up the theme of environmentalism for Vol. 2.2. The contributors to this issue and some of the agents they cover through their work offer readers several considerations for why theatre as a medium is an important mode through which to explore this theme, namely its power to raise awareness about environmental issues, spark dialogue and encourage audiences to act within their communities.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"119 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140380077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Afro-Iraqis represent 5% of the Iraqi population (approximately two million people), and Iraq has been their home since the ninth century, as part of forced immigration due to the slave trade. Throughout their history, Afro-Iraqis have been subjected to oppression, racism, and discrimination. Their rituals–assembled from a broad mix of African diasporic lineages–have been disparaged as barbaric and irreligious. In addition to providing a brief history of Afro-Iraqis and anti-Black racism in Arab culture, this paper describes and examines the significance of Afro-Iraqi rituals and Afro-Iraqis’ resilience in facing stigmatization and discrimination in Iraq.
{"title":"Afro-Iraqi Rituals: Stigma, Discrimination, and Resilience","authors":"Amir Al-Azraki, Thawrah Yousif Yaqoob","doi":"10.2458/tbtr.5149","DOIUrl":"https://doi.org/10.2458/tbtr.5149","url":null,"abstract":"Afro-Iraqis represent 5% of the Iraqi population (approximately two million people), and Iraq has been their home since the ninth century, as part of forced immigration due to the slave trade. Throughout their history, Afro-Iraqis have been subjected to oppression, racism, and discrimination. Their rituals–assembled from a broad mix of African diasporic lineages–have been disparaged as barbaric and irreligious. In addition to providing a brief history of Afro-Iraqis and anti-Black racism in Arab culture, this paper describes and examines the significance of Afro-Iraqi rituals and Afro-Iraqis’ resilience in facing stigmatization and discrimination in Iraq.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121658558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary playwright, novelist , screenwriter, and educator Suzan-Lori Parks won the 2002 Pulitzer Prize for drama for her play Topdog/Underdog just a few days after the play debuted on Broadway. By then, many of her plays were already highly regarded, as evidenced by her prestigious collection of accolades, including a Guggenheim Fellowship, two Obie Awards, and a MacArthur Foundation “Genius Grant,” among others.Parks is recognized for her skill in reshaping themes from American history. She does so by manipulating images, language, and tropes that ultimately challenge convention. Reviewers praise her for creating plays in which compellingly articulate characters offer scathing social and political commentaries regarding their respective environments and circumstances. To stage such a commentary, Suzan-Lori Parks employs a dramatic technique that this essay classifies as "Black Surrogacy."Black Surrogacy is the dramatic act of replacing white literary and historical figures with Black characters. Applied to Parks’ plays, it serves as a theoretical lens by which to scrutinize an American identity that is primarily rooted in white notions of itself. Through a comparative analysis of commendations on and critiques of Topdog/Underdog, Black Surrogacy calls into question this narrow identity configuration and demonstrates the ways in which the Pulitzer-Prize-winning play ultimately reinforces the very stereotypes that it seeks to counter.
{"title":"Black Surrogacy: Topdog/Underdog and Suzan-Lori Parks’ Dramatic Aesthetic","authors":"L. R. Rogers","doi":"10.2458/tbtr.4781","DOIUrl":"https://doi.org/10.2458/tbtr.4781","url":null,"abstract":"Contemporary playwright, novelist , screenwriter, and educator Suzan-Lori Parks won the 2002 Pulitzer Prize for drama for her play Topdog/Underdog just a few days after the play debuted on Broadway. By then, many of her plays were already highly regarded, as evidenced by her prestigious collection of accolades, including a Guggenheim Fellowship, two Obie Awards, and a MacArthur Foundation “Genius Grant,” among others.Parks is recognized for her skill in reshaping themes from American history. She does so by manipulating images, language, and tropes that ultimately challenge convention. Reviewers praise her for creating plays in which compellingly articulate characters offer scathing social and political commentaries regarding their respective environments and circumstances. To stage such a commentary, Suzan-Lori Parks employs a dramatic technique that this essay classifies as \"Black Surrogacy.\"Black Surrogacy is the dramatic act of replacing white literary and historical figures with Black characters. Applied to Parks’ plays, it serves as a theoretical lens by which to scrutinize an American identity that is primarily rooted in white notions of itself. Through a comparative analysis of commendations on and critiques of Topdog/Underdog, Black Surrogacy calls into question this narrow identity configuration and demonstrates the ways in which the Pulitzer-Prize-winning play ultimately reinforces the very stereotypes that it seeks to counter.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122689393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From the Desk of the Editor-in-Chief","authors":"O. Green","doi":"10.2458/tbtr.5480","DOIUrl":"https://doi.org/10.2458/tbtr.5480","url":null,"abstract":"","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"4a 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128200746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Leading August Wilson Scholar Dr. Sandra G. Shannon gives a detailed behind-the scenes account of her over-two-year role as Content Specialist for the August Wilson African American Cultural Center's permanent exhibit, AUGUST WILSON: THEWRITER’S LANDCAPE.
{"title":"Constructing August Wilson: The Writer’s Landscape Permanent Exhibit Housed at Pittsburgh’s August Wilson African American Cultural Center An Insider’s View","authors":"S. Shannon","doi":"10.2458/tbtr.5364","DOIUrl":"https://doi.org/10.2458/tbtr.5364","url":null,"abstract":"Leading August Wilson Scholar Dr. Sandra G. Shannon gives a detailed behind-the scenes account of her over-two-year role as Content Specialist for the August Wilson African American Cultural Center's permanent exhibit, AUGUST WILSON: THEWRITER’S LANDCAPE.","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127113036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This interview, with an introduction, chronicles Beth Turner's introduction to theatre, her work as a playwright, and her founding of Black Masks magazine. Like many periodicals, Black Masks, too, is a documentary magazine, thus capturing the people, plays, and moments that have shaped Black theatre and performance within the African Diaspora. As a result of its lengthy history and journalistic approach, Black Masks has traced the evolution of Black theatre for over 35 years. In particular, Black Masks has spotlighted pioneering and innovative theatre artists and practitioners, theater founders and administrators, and trailblazing teachers and scholars, who have received limited attention (and in some cases no attention at all) in other periodicals as well as in more traditional scholarly journals and collections.
{"title":"A Hidden Figure: Beth Turner and Black Masks at the Crossroads of Art, Pedagogy, and Innovation","authors":"K. Y. Long","doi":"10.2458/tbtr.4815","DOIUrl":"https://doi.org/10.2458/tbtr.4815","url":null,"abstract":"This interview, with an introduction, chronicles Beth Turner's introduction to theatre, her work as a playwright, and her founding of Black Masks magazine. Like many periodicals, Black Masks, too, is a documentary magazine, thus capturing the people, plays, and moments that have shaped Black theatre and performance within the African Diaspora. As a result of its lengthy history and journalistic approach, Black Masks has traced the evolution of Black theatre for over 35 years. In particular, Black Masks has spotlighted pioneering and innovative theatre artists and practitioners, theater founders and administrators, and trailblazing teachers and scholars, who have received limited attention (and in some cases no attention at all) in other periodicals as well as in more traditional scholarly journals and collections. ","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127720255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I analyze Ed Bullins's Clara’s Ole Man (1965) and Amiri Baraka's The Baptism (1964) to evince what black queer representation looked like in the hands of Black Revolutionary Theatre playwrights. I read Bullins and Baraka's one-act plays to engage in a discussion of black respectability politics from an historical perspective. I argue that movements for social change, theatrical or otherwise, if unchecked, erect a politics of respectability that limits the possibilities of collective progress toward revolutionary ends. I suggest that to trouble the potential rigidity of such politics (which can call for the inclusion of some at the expense of others), more representations of black experience should be considered and engaged with. In this article, I wanted to explore several question that arose for me early in my research on Black Queer Theatre: Are there dramatic narratives of the Black Arts Movement, and more specifically The Black Revolutionary Theatre, that include LGBTQ+ characters? If so, what are the limitations and possibilities of representations of black queerness in a 1960s black revolutionary context? To answer these questions, I critically analyze both plays using a black queer feminist theoretical lens. I identify how the plays use black queer characters to achieve the mission of the Black Revolutionary Theatre, and illustrate the ways in which this experiment merely reproduces black queer stereotypes
在这篇文章中，我分析了Ed Bullins的《Clara’s Ole Man》(1965)和Amiri Baraka的《The Baptism》(1964)，以证明黑人酷儿在黑人革命剧院剧作家手中的表现是什么样的。我读了布林斯和巴拉卡的独幕剧，从历史的角度讨论黑人体面政治。我认为，争取社会变革的运动，无论是戏剧性的还是其他形式的，如果不加以控制，都会建立起一种体面的政治，从而限制了朝着革命目标集体进步的可能性。我建议，为了克服这种政治的潜在刚性(它可能要求以牺牲其他人为代价来包容某些人)，应该考虑和参与更多黑人经历的表现。在这篇文章中，我想探讨我在研究黑人酷儿戏剧的早期遇到的几个问题:黑人艺术运动的戏剧叙事，更具体地说，黑人革命剧院，是否包括LGBTQ+角色?如果是这样，在20世纪60年代黑人革命的背景下，黑人酷儿的表现有什么局限性和可能性?为了回答这些问题，我用黑人酷儿女权主义的理论视角批判性地分析了这两部戏剧。我确定了戏剧是如何使用黑人酷儿角色来实现黑人革命剧院的使命，并说明了这个实验只是复制黑人酷儿刻板印象的方式
{"title":"Queering the Politics of Black Respectability in Plays of the Black Revolutionary Theatre","authors":"K. Tift","doi":"10.2458/tbtr.4777","DOIUrl":"https://doi.org/10.2458/tbtr.4777","url":null,"abstract":"In this article, I analyze Ed Bullins's Clara’s Ole Man (1965) and Amiri Baraka's The Baptism (1964) to evince what black queer representation looked like in the hands of Black Revolutionary Theatre playwrights. I read Bullins and Baraka's one-act plays to engage in a discussion of black respectability politics from an historical perspective. I argue that movements for social change, theatrical or otherwise, if unchecked, erect a politics of respectability that limits the possibilities of collective progress toward revolutionary ends. I suggest that to trouble the potential rigidity of such politics (which can call for the inclusion of some at the expense of others), more representations of black experience should be considered and engaged with. In this article, I wanted to explore several question that arose for me early in my research on Black Queer Theatre: Are there dramatic narratives of the Black Arts Movement, and more specifically The Black Revolutionary Theatre, that include LGBTQ+ characters? If so, what are the limitations and possibilities of representations of black queerness in a 1960s black revolutionary context? To answer these questions, I critically analyze both plays using a black queer feminist theoretical lens. I identify how the plays use black queer characters to achieve the mission of the Black Revolutionary Theatre, and illustrate the ways in which this experiment merely reproduces black queer stereotypes","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123919699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"If All the World's a Stage, Why Are Some Left Out of the Spotlight?","authors":"Cris Eli Blak","doi":"10.2458/tbtr.4710","DOIUrl":"https://doi.org/10.2458/tbtr.4710","url":null,"abstract":"","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131950846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Theatre review of Dominique Morriseau's Skeleton Crew at the Manhattan Theatre Club's Samuel J. Friedman Theatre. The reviewer attended the January 26, 2022 opening night - which was a delayed opening due to COVID-19 complications. The theatrical production itself is centered in this review, but the author also addresses the global pandemic's impact on the process and on how the play is received in that specific cultural climate.
{"title":"Production Review: Skeleton Crew","authors":"kb saine","doi":"10.2458/tbtr.4892","DOIUrl":"https://doi.org/10.2458/tbtr.4892","url":null,"abstract":"Theatre review of Dominique Morriseau's Skeleton Crew at the Manhattan Theatre Club's Samuel J. Friedman Theatre. The reviewer attended the January 26, 2022 opening night - which was a delayed opening due to COVID-19 complications. The theatrical production itself is centered in this review, but the author also addresses the global pandemic's impact on the process and on how the play is received in that specific cultural climate. ","PeriodicalId":414958,"journal":{"name":"the Black Theatre Review","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128197864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：