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Modes of alienation of the black writer: problem and solution in the evolution of black drama and contemporary black theatreWilliams, Roosevelt January 1974 (has links)
No description available.
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Some Modern American Concepts of Tragic Drama as Revealed by the Critical Writings of Twentieth Century American PlaywrightsGearhart, Sally Miller January 1953 (has links)
No description available.
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Some Modern American Concepts of Tragic Drama as Revealed by the Critical Writings of Twentieth Century American PlaywrightsGearhart, Sally Miller January 1953 (has links)
No description available.
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Spanish American contemporary political theatre: 1959-1970 /Elliott, Norma Jean January 1980 (has links)
No description available.
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Black Voices: A Trilogy of Twenty-First Century Plays Addressing the Hidden Bruises and Inner Strength of a Generation of African AmericansTodd, Willie L, Jr. 18 December 2014 (has links)
Finding African American plays which are intellectually stimulating, yet relatable to the everyday African American is quite a challenge. This is in part because much of what is written and considered by mainstream America to be quality African American theater, is either not written by African Americans, not written in a manner which many of them will easily relate to it, or is not written about the “Black experience” which is the reality for an overwhelming majority of African Americans. Often the plays utilize language which appeals to mainstream America and educated African Americans; however, is somewhat foreign to the overwhelming majority of African Americans, many who are socially and economically deprived. For any writer, considering one’s audience is vitally important. For the African American playwright who gains popularity, there is always the scarlet letter worn of representing the entire race and knowing that whether good, bad, or indifferent, his/her works will be a badge that will be linked to all African Americans. For most educated African Americans, there exists this inner conflict of existing in two worlds, neither of which they truly feel at home. There is always the underlying challenge of whether the work should be simply entertaining or whether it must possess some didactic message which will change the world for the African American race. Having lived and survived the “Black experience,” which for many involved socially and economically disparaging environments, the African American writer feels like he/she is betraying the race if they do not write works with the primary goal of uplifting the race. This dissertation provides three plays addressing the African American experience. With the subtitle “Black Voices,” they address the three primary groups in the African American community – women, men, and children. To ensure that quality African American plays exist which chronicle the “Black experience” without regard to the perception from mainstream America is vitally important. This dissertation addresses some of the reasons why many African American playwrights have challenges with audience and provides plays by the author which bravely address some of the “hidden bruises” within the African American community.
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American adaptations of French plays on the New York and Philadelphia stages from 1834 to the civil war ...Ware, Ralph Hartman. January 1930 (has links)
Thesis (Ph. D.)--University of Pennsylvania, 1930. / Bibliography: p. 128-135.
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American adaptations of French plays on the New York and Philadelphia stages from 1834 to the civil war ...Ware, Ralph Hartman. January 1930 (has links)
Thesis (Ph. D.)--University of Pennsylvania, 1930. / Bibliography: p. 128-135.
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Cultural contexts and the American classical canon : contemporary approaches to performing Tennessee William's A Streetcar Named Desire /Homan, Elizabeth A. January 1997 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 242-257). Also available on the Internet.
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Festival drama.Leggette, Lubin Poe, January 1956 (has links)
Thesis (Ed. D.)--Teachers College, Columbia University, 1956. / Typescript. Sponsor: Magdalene Kramer. Dissertation Committee: Sloan Wayland, John L. Hutchinson, Paul Kozelka. Type C project. Includes bibliographical references (leaves 246-250).
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Cultural contexts and the American classical canon contemporary approaches to performing Tennessee William's A Streetcar Named Desire /Homan, Elizabeth A. January 1997 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 242-257). Also available on the Internet.
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