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This anthology of five full-length plays collectively outlines a cultural history of black America in the post-Civil Rights era, from the late 20th century through the first decades of the 21st. Black Terror looks at the radical politics of the Black Power era; The Sirens, the destabilization of black familial and social life in the early 1970s; The Mighty Gents, the destructiveness of “black macho” in the late 1970s; The Talented Tenth, the midlife crisis and the end of idealism in the black middle class in the early 1980s; and Autumn, the new generational paradigm in black urban politics in the early 21st century. Each of the plays included in this anthology was born out of the idea of the public thinker, and what Arthur Miller would refer to as the importance of an individual conscience – as well as the belief that each generation must give back, must inform and inspire the generation that follows. No people – and certainly not the African Americans still striving and struggling in the 21st century – can thrive if they fail to adhere to that simple idea.
The theater of the 21st century, in many ways, is expanding to require new muscles of its actors, and so should their scene choices. Today, amid flourishing new play resources, it can be difficult to nail down contemporary scenes for two people. These scenes, all culled from plays written between 2000 and 2016, are useful to actors between the ages of 15 and 30. They range from about two to seven minutes' running time – appropriate for different classroom explorations – and are grouped by scenes for two males, two females, and one male and one female. Contemporary Scenes for Twentysomethings offers the opportunity for emerging actors to explore work by playwrights, both emerging and established, that is truly contemporary. Jessica Bashline, adjunct professor of acting at New York University, has assembled a comprehensive collection, featuring work written by Samuel D. Hunter, Liz Duffy Adams, Timothy Mason, Nina Raine, and many more. Every playwright in this book is currently writing. The characters included in this compilation come from a variety of backgrounds with different stories to tell, giving you the chance to explore those who are close to you and those who may come from someplace else. When perusing this book, look for scenes that instantly draw you. There is more than enough material to find something that speaks to you, and your passion for a piece will strengthen your final performance!
The theater of the 21st century, in many ways, is expanding to require new muscles of its actors, and so should their monologue choices. Contemporary Monologues for Twentysomethings is a compilation of monologues for actors ages 15 to 30, incorporating characters from a variety of backgrounds with different stories to tell, giving you the chance to explore those who are close to you and those who may come from someplace else. These monologues are compiled in order of length, with the shortest coming in a little under a minute and the longer pieces running closer to four minutes. All from plays written between 2000 and 2016, the monologues in this book are useful both for exploration in a classroom setting as well as for auditions. Jessica Bashline, adjunct professor of acting at New York University, has assembled a comprehensive collection, featuring work written by Neil LaBute, Sarah Ruhl, Zach Braff, Naomi Iizuka, and many more. Every playwright in this book is currently writing. Some of these plays have been produced on Broadway and some in tiny theaters in New York, Minneapolis, San Diego, or other cities around the country. This book offers a chance for emerging actors to explore work by playwrights, both emerging and established, that is truly contemporary.
The Color of Theater presents a range of essays, interviews and performance texts that illustrate and examine the process, evolution and dynamics of making theater in the dawning moments of the 21st century. It brings together writings by artists, intellectuals and art activists exploring contemporary practices within multicultural, intercultural and ethnically specific theaters. This provocative and dynamic resource brings forth critical issues of cultural aesthetics engaging theater as a crucial site for examining the intricate intersections of race, gender, class, sexuality and national and global politics.Contributors include: Rustom Bharucha, Thulani Davis, Harry Elam, Guillermo Gomez-Pea, Velina Hasu Huston, Cherrfe Moraga, David Romn, Sekou Sundiata, Diana Taylor, Una Chaudhuri, Alberto Sandoval-Snchez and lO thi diem thy.
A domestic story told in numerous original and endearing voices. The story opens with Wesley, a tenth grader, and involves his two sets of parents (the mom and her second husband, a very thoughtful doctor; and the father who has become a major gay lawyer/activist and his fabulous "significant other" who owns a restaurant). Wesley is a fabulous kid, whose equally fabulous best friend Theo has just won a big school election and simultaneously surprises everyone in his life by announcing that he is gay. No one is more surprised than Wesley, who actually lives temporarily with his gay father and partner, so that he can get to know his rather elusive dad. When a dramatic and unexpected trauma befalls the boys in school, all the parents converge noisily in love and well-meaning support. But through it all, each character ultimately is made to face certain challenges and assumptions within his/her own life, and the playing out of their respective life priorities and decisions is what makes this novel so endearing and so special.
The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order. Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love. American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.
Collecting works by one of the most influential playwrights of the Black Arts Movement of the 60s and 70s