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1	Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello Sawyer, Robert 01 September 2017 (has links) When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943. commemoration fascism Henri Lefebvre Josè Ferrer Margaret Webster Othello Paul Connerton Paul Robeson Peggy Ashcroft protest Savoy Theatre show boat Spanish Civil War Literature and Language
2	The Black O'Neill: African American Portraiture in Thirst, The Dreamy Kid, Moon of the Caribbees, The Emperor Jones, The Hairy Ape, All God's Chillun Got Wings, and The Iceman Cometh McKnight, Harry W., Jr. 10 December 2012 (has links) No description available. African Americans African American Studies Literature Theater History Eugene O'Neill The Hairy Ape All God's Chillun Got Wings and The Iceman Cometh African American portraiture Charles Gilpin, Paul Robeson

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Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello

The Black O'Neill: African American Portraiture in Thirst, The Dreamy Kid, Moon of the Caribbees, The Emperor Jones, The Hairy Ape, All God's Chillun Got Wings, and The Iceman Cometh