Word: selfing
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Dates: during 1960-1969
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...directed towards the black community. Black Theater is entertaining (and not simply because drama-in-black-face is the current vogue), and, more importantly, illuminating. As Peter Bailey writes in Newsweek (February 24), ". . . its raison d'etre is cultural nationalism." Its purpose is to further the growth and self-knowledge of the black audience. In today's theater there is more than ever, before a natural empathy between the black playwright and his black audience; there is no need for an exposition of "the problem," the presumption being that the audience, being black, shares certain basic assumptions with the playwright...
...audience was racially-mixed, almost equally so. Most of the whites were obviously patrons of the Center. It was, to a large extent, their money which had made the program possible. The reaction of the blacks in the audience, however, ranged from a self-conscious acknowledgement to cold hostility. The tension was noticeable from the outset...
...DOUBT some of these grievances are unwarranted or half-imaginary; others are real but beyond the reach of either faculty or department control. The transition from college to graduate school implies a certain increase in self-reliance, which is after all a cardinal scholarly virtue. Independent work is likely to be lonely work, but scholars must learn to enjoy the independence and put up with some loneliness. The transition from the happy variety of undergraduate life to professional specialization is likely to seem drab and stultifying in the early stages...
...major difficulty with the play is that the central character, who supposedly takes up where Mother Courage left off, is miscast. Emme Davidson is simply too healthy for the role. Wrapped in black, reclining on a couch, and sentenced to deliver her lines in a self-righteous singsong, she's like Truman Capote in drag. Well, let's just say Truman Capote period, and leave it at that...
...varying ages have lived through the surrounding hostilities. Their lives are empty except for that of the ten-year-old girl (Kate Soloman) who--in a single half hour--alludes to Homer, the Bible, Milton, James Joyce, and Lewis Carroll. The play smacks too much of a kind of self-indulgence that the author, David Richman, should avoid in the future. The bits of naturalistic dialogue that he does include are biting enough to be further developed in his next...