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- 학술저널
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- 발행연도
- 2004.8
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- 105 - 145 (41page)
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It was not until the Harlem Renaissance that the dramatic imagination of black Americans found its expression on the stage. During the period, black playwrights were in the learning stage of their craft. Some of the white playwrights' interest in blacks such as Ridgely Torrence and Eugene O'Neill served as an impetus to African American playwrights who began creating their own images of black men and women. A few black authors had their plays produced for large audiences on Broadway. The problem was that this burst of dramatic creativity was associated solely with black male playwrights of the period. It was not that plays were hardly written by black female playwrights. According to the statistics, women playwrights wrote almost as many plays as male playwrights. Plays by early twentieth-century black women were neither frequently produced nor extensively anthologized. They were rarely the subject of critical interpretation.
Between the 1910s and the 1930s some nine black women playwrights captured the lives of black people as no white or black male playwrights could. Angelina Weld Grimke, Alice Dunbar-Nelson, Georgia Douglas Johnson, May Miller, May Burrill, Myrtle Smith Livingston, Ruth gaines-Shelton, Eulalie Spence, and Marita Bonner were all original voices that were unwelcome in the commercial theatre of the period. These authors are crucial to any discussion of the development of black playwriting in America because they provide the feminine perspective.
Beginning in the 1950s, black women playwrights made considerable efforts to create new images of blacks and to counterpart stereotypes that had been presented in earlier decades by white dramatists and by some black playwrights. Alice Childress, Lorraine Hansberry, and Ntozake Shange have profited from the theatrical breakthroughs made by the women playwrights of the Harlem Renaissance. Unlike their male counterparts, these women playwrights have brought to the American stage a multiplicity of images of female heroines and have not confined themselves to such limiting images of black women as immoral, promiscuous, wanton, or helpless. They have been able to carve an indelible place for themselves on the American stage. Each has made significant contributions to the development of theatre in America, particularly black theatre.
Black female playwrights in the 1980s and after have written plays that incorporate the liturgy of the black church, traditional music, African mythology, folklore, and fantasy. Striving to find new and dynamic ways of expressing old themes in an historically conservative theatre, they have opened the door for other black playwrights to make more dramaturgical advances in their own terms. Black female playwrights in the last decade of the twentieth century successfully paved the way for the upcoming women playwrights to insist upon craft and integrity over commercialism.
Between the 1910s and the 1930s some nine black women playwrights captured the lives of black people as no white or black male playwrights could. Angelina Weld Grimke, Alice Dunbar-Nelson, Georgia Douglas Johnson, May Miller, May Burrill, Myrtle Smith Livingston, Ruth gaines-Shelton, Eulalie Spence, and Marita Bonner were all original voices that were unwelcome in the commercial theatre of the period. These authors are crucial to any discussion of the development of black playwriting in America because they provide the feminine perspective.
Beginning in the 1950s, black women playwrights made considerable efforts to create new images of blacks and to counterpart stereotypes that had been presented in earlier decades by white dramatists and by some black playwrights. Alice Childress, Lorraine Hansberry, and Ntozake Shange have profited from the theatrical breakthroughs made by the women playwrights of the Harlem Renaissance. Unlike their male counterparts, these women playwrights have brought to the American stage a multiplicity of images of female heroines and have not confined themselves to such limiting images of black women as immoral, promiscuous, wanton, or helpless. They have been able to carve an indelible place for themselves on the American stage. Each has made significant contributions to the development of theatre in America, particularly black theatre.
Black female playwrights in the 1980s and after have written plays that incorporate the liturgy of the black church, traditional music, African mythology, folklore, and fantasy. Striving to find new and dynamic ways of expressing old themes in an historically conservative theatre, they have opened the door for other black playwrights to make more dramaturgical advances in their own terms. Black female playwrights in the last decade of the twentieth century successfully paved the way for the upcoming women playwrights to insist upon craft and integrity over commercialism.
목차
Ⅰ. 서론
Ⅱ. 정전논의의 몇 가지 전제
Ⅲ. 흑인여성상
Ⅳ. 초기 흑인 여성극
Ⅴ. 사실주의 연극의 완성 : 앨리스 칠드레스와 로레인 핸즈베리
Ⅵ. 흑인연극운동과 60, 70년대의 흑인여성 극작가 4인
Ⅶ. 80년대 이후의 여성 극작가들
Ⅷ. 결론
Works Cited
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