Chapter 20 Being black on stage and screen

The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance—from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre

Chapter 20 Being black on stage and screen

The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance—from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre

États, identités nationales et mondialisation (structures et mécanismes de constitution des états et des identités en Afrique)

La réflexion portant sur la mondialisation dans son rapport à l'identité et à l'Etat a pour objectif premier, globalement, de mettre en évidence puis de discuter de l'impact - réel ou supposé - de la mondialisation sur l'Etat. Elle s'articule d'autre part et peut-être plus fondamentalement autour de la thématique consistant à dégager une idée de l'identité nationale qui soit résolument moderne, C'est-à-dire, qui réponde à l'exigence d'adaptabilité qu'impose le contexte international qui se fait jour, et qui semble augurer de changements significatifs ; changements touchant notamment aux diverses modalités de perception et de représentation de soi. En d'autres termes et plus concrètement, de la recension des travaux touchant cette question, il se dégage généralement une réflexion qui vise à répondre à la problématique suivante : dans le contexte international actuel marqué par une tendance relativement prononcée à l'ouverture de leurs frontières par les Etats (logiques agrégatives), tendances suscitées aussi bien par l"orchestration d'une âpre et rude concurrence dans le commerce international que par les multiples stratégies de déploiement de la puissance à l"échelle de la planète, comment articuler la nécessité de l'ouverture des frontières avec la non moins nécessaire structuration ou réaffirmation d'une identité nationale sereine, porteuse de cohésion et de progrès sociaux ? Comment penser, aujourd'hui, une identité nationale équilibrée (non autarcique et non particulariste), c'est-à-dire qui puisse intégrer simultanément et harmonieusement sa double dimension de clôture et d'ouverture (principes dialectiques d'exclusion et d'inclusion) ? Il est donc souvent question de penser la mondialisation, accessoirement dans son rapport à l'Etat, plus fondamentalement dans sa relation à l'identité.PARIS1-BU Pierre Mendès-France (751132102) / SudocSudocFranceF