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Locating the neo-Black aesthetic: P...

McMillan, Felecia Piggott.

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Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement./
作者:	McMillan, Felecia Piggott.
面頁冊數:	240 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0945.
Contained By:	Dissertation Abstracts International63-03A.
標題:	Literature, American. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3047038
ISBN:	0493610103

Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement.
McMillan, Felecia Piggott.

Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement. - 240 p.

Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0945.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.

This study involves an examination of the counter discursive strategies that playwrights from the Black Arts Movement used that are repeated and transformed in the work of playwrights from the North Carolina Black Repertory Company, the first professional black theater company in the state. Commonly referred to as the Black Rep, the company has produced four black playwrights since its founding in 1979. These dramatists are Larry Leon Hamlin, Artistic Director/Founder North Carolina Black Repertory Company and founder of the National Black Theater Festival; Nathan Ross Freeman, the first playwright-in-residence of the company and Director of Montage Showcase Ensemble in Winston-Salem; Mabel Robinson, Broadway choreographer and veteran actress; and Janice Price-Hinton, jazz singer and Director of the Artistic Studio of the Performing Arts also in Winston-Salem.

ISBN: 0493610103Subjects--Topical Terms:

1017657
Literature, American.

Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement.
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245 1 0 $a Locating the neo-Black aesthetic: Playwrights of the North Carolina Black Repertory Company react to the Black Arts Movement.
300 $a 240 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0945.
500 $a Adviser: Trudier Harris-Lopez.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.
520 $a This study involves an examination of the counter discursive strategies that playwrights from the Black Arts Movement used that are repeated and transformed in the work of playwrights from the North Carolina Black Repertory Company, the first professional black theater company in the state. Commonly referred to as the Black Rep, the company has produced four black playwrights since its founding in 1979. These dramatists are Larry Leon Hamlin, Artistic Director/Founder North Carolina Black Repertory Company and founder of the National Black Theater Festival; Nathan Ross Freeman, the first playwright-in-residence of the company and Director of Montage Showcase Ensemble in Winston-Salem; Mabel Robinson, Broadway choreographer and veteran actress; and Janice Price-Hinton, jazz singer and Director of the Artistic Studio of the Performing Arts also in Winston-Salem.
520 $a This study examines the ways in which the playwrights from the Black Rep have contributed since the decline of the Black Arts Movement in 1976, to the development of the “New Black Aesthetic” as articulated by Trey Ellis. Black Arts playwrights Amiri Baraka and Ed Bullins serve as the standard bearers of the Black Aesthetic who settled the “Black Stage Reality” as espoused by Leslie Sanders. This dissertation explores the differences and similarities in the ways these two groups of writers treat several subjects: how they appropriate Houston Baker Jr.'s concept of the “blues voice” of narrativity as it relates to the history of slavery; how they compare and contrast in their constructions of the homosexual and the lesbian on stage; how they support or challenge Western Christianity; and how these two groups appropriate the oral tradition.
520 $a Finally, this study focuses on the present state of African American theater and the strategies dramatists are taking to ensure the survival of African American theatre in the future. The North Carolina Black Repertory Company has accomplished much in the last 22 years of its existence. The four playwrights who emerged from the Black Rep have forged their own black aesthetic and have liberated themselves from the dictums of the Black Arts Movement. The company ranks among the top ten black theatre companies, and Artistic Director Larry Leon Hamlin has unified black theatres across the country through the National Black Theatre Festival. His future plans for the National Black Theatre Museum and Hall of Fame will serve as a repository for scholars who wish to research about the Black Rep and other black theatres. Additionally, Hamlin has plans to extend the historical collection to a central location in North Carolina.
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