This collection of essays seeks to present articles that examine the early ventures of the 1960s and 1970s in the progressive theatre of identity with a new contemporary view considering the intersection of race, gender, ethnicity, economic class, and sexual orientation.
This collection of essays seeks to present articles that examine the early ventures of the 1960s and 1970s in the progressive theatre of identity with a new contemporary view considering the intersection of race, gender, ethnicity, economic class, and sexual orientation.
David A. Crespy is Professor of Playwriting, Acting, Theatre History, and Dramatic Literature at the University of Missouri, USA. Les Gray is a dramaturg, collaborator, writer, and occasional performer. Their work has been featured in "Youth Theatre Journal" and "The Professor Is In."
Inhaltsangabe
Introduction PART I: Albee & LGBTQ Theatre & Performance, Ageism, and Latinx Drama Chapter 1. The New Conservatory Theatre Story: Activist Action Moments in Progressive Theatres of Identity Chapter 2. Reviving Medusa's Revenge, New York City's First Lesbian Theater Space Chapter 3. "Different Rewards": Queer Gerontological Models in the Dramaturgy of Edward Albee, Terrence McNally, and Lanford Wilson Chapter 4. The Making of an American Master Playwright: A History of Lanford Wilson's Home Free! and the Albee-Barr-Wilder Playwrights Unit Chapter 5. Whatever happened to Grandma?: Women and Aging in Edward Albee's The Sandbox (1960) and The American Dream (1961) Chapter 6. "I know this game, you're playing. I know it very well": Albee as Influence and Counterpoint to Crowley's The Boys in the Band Chapter 7. Albee, Fornés, and the Next Generation of Grotesque Theater PART II: Albee and the Emergence of African-American Theatre Chapter 8. Staging Politics of the Black Blues Bodies: Edward Albee's The Death of Bessie Smith in Conversation with August Wilson's Ma Rainey's Black Bottom Chapter 9. Visited by a Phantom: Adrienne Kennedy's Funnyhouse Encounter with Edward Albee Chapter 10. The Emergence of Identity and Protest through the Rhetorical Genre of American Absurdism Chapter 11. "I am an American Writer Too": James Baldwin as Emergent Playwright Chapter 12. Lorraine Hansberry and Anti-Colonial Drama on the Broadway Stage Chapter 13. Student as Citizen: Illuminating Hansberry's A Raisin in the Sun with Albee's Plays of 1959 Chapter 14. As a Black Woman Speaks and Dances: Embracing Intersectionality in Richards' A Black Woman Speaks (1950) and Shange's (1976)
Introduction PART I: Albee & LGBTQ Theatre & Performance, Ageism, and Latinx Drama Chapter 1. The New Conservatory Theatre Story: Activist Action Moments in Progressive Theatres of Identity Chapter 2. Reviving Medusa's Revenge, New York City's First Lesbian Theater Space Chapter 3. "Different Rewards": Queer Gerontological Models in the Dramaturgy of Edward Albee, Terrence McNally, and Lanford Wilson Chapter 4. The Making of an American Master Playwright: A History of Lanford Wilson's Home Free! and the Albee-Barr-Wilder Playwrights Unit Chapter 5. Whatever happened to Grandma?: Women and Aging in Edward Albee's The Sandbox (1960) and The American Dream (1961) Chapter 6. "I know this game, you're playing. I know it very well": Albee as Influence and Counterpoint to Crowley's The Boys in the Band Chapter 7. Albee, Fornés, and the Next Generation of Grotesque Theater PART II: Albee and the Emergence of African-American Theatre Chapter 8. Staging Politics of the Black Blues Bodies: Edward Albee's The Death of Bessie Smith in Conversation with August Wilson's Ma Rainey's Black Bottom Chapter 9. Visited by a Phantom: Adrienne Kennedy's Funnyhouse Encounter with Edward Albee Chapter 10. The Emergence of Identity and Protest through the Rhetorical Genre of American Absurdism Chapter 11. "I am an American Writer Too": James Baldwin as Emergent Playwright Chapter 12. Lorraine Hansberry and Anti-Colonial Drama on the Broadway Stage Chapter 13. Student as Citizen: Illuminating Hansberry's A Raisin in the Sun with Albee's Plays of 1959 Chapter 14. As a Black Woman Speaks and Dances: Embracing Intersectionality in Richards' A Black Woman Speaks (1950) and Shange's (1976)
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