Few theatre aficionados, even theatre historians, could come up with the names of many actresses known for serious dramatic roles before the 1950s brought Ruby Dee and other stars to the fore. The road to the professional dramatic stage was not easily traveled by Black actresses, but some did make the transition from minstrels and musicals to drama beginning at the turn of the century. For the most part even those who achieved significant critical acclaim were omitted from the annals of American theatre history.
In this first study specifically on early Black actresses, Jo Tanner traces the evolution and progress of such stage pioneers, focusing especially on Anita Bush, Laura Bowman, and Abbie Mitchell, who achieved success on their own in the first three decades of the century and helped train a new generation of Black actresses while also serving as role models. In the process, Tanner uncovers racial attitudes and preconceptions of the period that forced Black actresses primarily into mammy roles. It took considerable fortitude as well as talent for these women to pave the way others would follow. Occupying a site at the confluence of theatre history, women's studies, and African American studies, this book will interest scholars and students in all these areas and will have to be taken into account by future writers chronicling American theatre history.
Edward Hudlin maintains that the book follows very closely the structure of the heroic myth as outlined by Joseph Campbell ... Carol Pearson and Katherine Pope look at Dorothy's adventures from a mythological and feminist perspective.19 ...
(Amadeus). In this first of three volumes, Paul Jackson begins a rich and detailed history of the early years of the Metropolitan Opera broadcasts, bringing to life more than 200 recorded broadcasts.
128 See John Walton Tyrer , Historical Survey of Holy Week : Its Services and Ceremonial , Alcuin Club Collections 29 ( London : Oxford University Press , 1932 ) , esp . 58 ; and see also this occasion was important for other reasons ...
After the inquest , Holmes speaks with Inspector Lanner and Miss Turner . Lanner sees no hope for McCarthy , but Holmes thinks differently . He quizzes Miss Turner on her relationship with McCarthy , and she reveals they had hoped to ...
Evan, soon to be thirteen, is disturbed by his parents' divorce and dragged from his home in New York City to live with his mother in the Midwest, all while trying to figure out just who he really is.
It is accompanied by an introduction and a translation of one of Zeami's most celebrated No plays, 'Atsumori'. This is a new translation of 'Fushikaden', the fifteenth-century classic text by Zeami, founder of the No theatre.
Pan and Champion auditioned elephants from the Cole Brothers Circus and, in addition, hired two baby elephants from local nightclubs in Los Angeles.10 They did not have a routine in mind, but instead requested a trainer to show them ...
莎士比亚戏剧选译
以下是笔者抄录的历溪目连戏班所用剧本郑之珍《新编目连救母劝善戏文》的出目,共100出,分别为:上卷32出出目——开场、元旦上寿、斋僧斋道、刘氏斋尼、博施济众、三官奏事、阎罗接旨、城隍挂号、观音生日(新增插科)、花园烧香、傅相嘱子、修斋荐父、傅相 ...
这时,张敞向姚刚说:“今天擂台比武,非是阵前冲锋,你我点到而已。”两个人说完,各将拳脚式拉开,打在一处。张敞不敢轻视姚刚,一动手就小心留神。不过姚刚身体强壮,张敞拳打来,也不躲;脚踢来,也不躲,任你踢打。张敞见他不怕,反倒不敢打。可姚刚打他却是真打, ...