Hatch-Hill ch. 12 notes

Hatch-Hill ch. 12 notes - Chpt. 12 notes: a second...

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Chpt. 12 notes: a second Renaissance Quote by Ron Karenga: “Black Art initiates, supports, and promotes change. It refuses to accept values laid down by dead men.” (375) Time of change and ferment: late 1950’s-mid 1970’s. 1959: Lorraine Hansberry: A Raisin in the Sun (“foster child” of Big White Fog and Native Son) Controversies: was it too integrationist (Barak’s criticism and revision of criticism). Character of Lena and Walter Lee (Moynihan report). Innovation: Asagai (foil for George). Lloyd Richards. Hansberry’s other works: The Drinking Gourd, Les Blancs, The Sign in Sidney Brustein’s Window. Hello Dolly w/ black cast (Pearl Bailey) vs. The Wiz Race: Kicks and Company (Oscar Brown Jr.); Fly Blackbird (Hatch and Jackson) James Baldwin: Amen Corner (1954) and Blues for Mr. Charley (1964) Ossie Davis: Purlie Victorious (1961). Musical: Purlie (1970) Gospel Plays. Langston Hughes: Tambourines to Glory , Black Nativity, The Gospel Glow, Jericho-JimCrow. Vinette Carroll: Urban Arts Corps: Don’t Bother Me, I Can’t Cope, Your Arms Too Short to Box With God. (Later: 1983: The Gospel at Colonus—Lee Breuer and Bob Telson, starring Morgan Freeman. The ‘70’s: also the era of Godspell and Jesus Christ Superstar) Rise of LORT theatres, non-profit regional theatres. Foundation and gov’t funding. The
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This note was uploaded on 03/29/2011 for the course THEA 4480 taught by Professor Giles during the Spring '11 term at UGA.

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Hatch-Hill ch. 12 notes - Chpt. 12 notes: a second...

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