Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-28T04:09:24.955Z Has data issue: false hasContentIssue false

Further reading

Published online by Cambridge University Press:  05 December 2012

Edited by
Harvey Young
Harvey Young
Affiliation:
Northwestern University, Illinois
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge Companion to African American Theatre , pp. 279 - 285
Publisher: Cambridge University Press
Print publication year: 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbott, Lynn, and Seroff, Doug. Ragged but Right: Black Traveling Shows, “Coon Songs,” and the Dark Pathway to Blues and Jazz. Jackson: University Press of Mississippi, 2007.Google Scholar
Adubato, Robert A. “A history of the WPA’s Negro Theatre Project in New York City, 1935–1939,” Ph.D. dissertation. New York University, 1978.
Anderson, Lisa M.Black Feminism in Contemporary Drama. Urbana: University of Illinois Press, 2008.Google Scholar
Anderson, Lisa M.Mammies No More: The Changing Image of Black Women on Stage and Screen. Lanham, MD: Rowman & Littlefield, 1997.Google Scholar
Andrews, Bert, and Harrison, Paul Carter. In the Shadow of the Great White Way: Images from the Black Theatre. New York; St. Paul, MN: Thunder’s Mouth Press, 1989.Google Scholar
Association for Theatre in Higher Education (US). Blackstream: Black Theatre Association Presents Select Papers from the 1995 Association for Theatre in Higher Education’s San Francisco Conference. Chicago: Black Theatre Association of the Association for Theatre in Higher Education (ATHE), 1997.Google Scholar
Baker, Houston A.Modernism and the Harlem Renaissance. Chicago: University of Chicago Press, 1987.Google Scholar
Baraka, Amiri. Black Music. New York: W. Morrow, 1967.Google Scholar
Baraka, Amiri, and Reilly, Charlie (eds.). Conversations with Amiri Baraka. Jackson: University Press of Mississippi, 1994.
Bean, Annemarie. A Sourcebook of African-American Performance: Plays, People, Movements. London; New York: Routledge, 1999.Google Scholar
Bean, Annemarie, Hatch, James Vernon, and McNamara, Brooks (eds.). Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy. Hanover, NH; London: Wesleyan University Press, 1996.
Bekka, Abu. “The Black Theatre Movement in the United States, 1960–1975,” Ph.D. dissertation. California State University, 1984.
Bigsby, C. W. E.The Cambridge Companion to August Wilson. Cambridge; New York: Cambridge University Press, 2007.CrossRefGoogle Scholar
Black Theatre Canada. Black Theatre Canada in Perspective. Toronto: The Theatre, 1980.Google Scholar
Bloom, Harold. August Wilson. Broomall, PA: Chelsea House Publishers, 2002.Google Scholar
Bogumil, Mary L.Understanding August Wilson. Columbia: University of South Carolina Press, 1999.Google Scholar
Booker, Margaret. Lillian Hellman and August Wilson: Dramatizing a New American Identity. New York: Lang, 2003.Google Scholar
Brooks, Daphne A.Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910. Durham, NC: Duke University Press, 2006.Google Scholar
Brown-Guillory, Elizabeth. Their Place on the Stage: Black Women Playwrights in America. New York: Greenwood Press, 1988.Google Scholar
Bryant-Jackson, Paul K., and Overbeck, Lois More. Intersecting Boundaries: The Theatre of Adrienne Kennedy. Minneapolis: University of Minnesota Press, 1992.Google Scholar
Bryer, Jackson R., and Mary C, Hartig. Conversations with August Wilson. Jackson: University Press of Mississippi, 2006.Google Scholar
Bullins, , Ed. New Plays from the Black Theatre: An Anthology. New York: Bantam Books, 1969.
Bullins, , Ed, and New Lafayette Theatre. The New Lafayette Theatre Presents. Garden City, NY: Anchor Press, 1974.Google Scholar
Catanese, Brandi Wilkins. The Problem of the Color(blind): Racial Transgression and the Politics of Black Performance. Ann Arbor: University of Michigan Press, 2011.CrossRefGoogle Scholar
Charters, Ann. Nobody: The Story of Bert Williams. New York: Macmillan, 1970.Google Scholar
Clark, Keith. Black Manhood in James Baldwin, Ernest J. Gaines, and August Wilson. Urbana: University of Illinois Press, 2002.Google Scholar
Craig, E. Quita. Black Drama of the Federal Theatre Era: Beyond the Formal Horizons. Amherst: University of Massachusetts Press, 1980.Google Scholar
Curtis, Susan. The First Black Actors on the Great White Way. Columbia: University of Missouri Press, 1998.Google Scholar
Davis, Ossie, and Dee, Ruby. With Ossie and Ruby: In This Life Together. New York: W. Morrow, 1998.Google Scholar
Elam, Harry Justin, Jr. The Past as Present in the Drama of August Wilson. Ann Arbor: University of Michigan Press, 2004.CrossRefGoogle Scholar
Elam, Harry JustinTaking It to the Streets: The Social Protest Theater of Luis Valdez and Amiri Baraka. Ann Arbor: University of Michigan Press, 1997.CrossRefGoogle Scholar
Elam, Harry Justin, Jr., and Alexander, Robert (eds.). The Fire This Time: African-American Plays for the 21st Century. New York: Theatre Communications Group, 2004.
Elkins, Marilyn Roberson. August Wilson: A Casebook. New York: Garland, 1994.Google Scholar
Fabre, Geneviève. Drumbeats, Masks, and Metaphor: Contemporary Afro-American Theatre. Cambridge, MA: Harvard University Press, 1983.Google Scholar
Forbes, Camille F.Introducing Bert Williams: Burnt Cork, Broadway, and the Story of America’s First Black Star. New York: Basic Civitas, 2008.Google Scholar
Forte’, Patricia, and Lange, Ted. The Cambridge Way: An Intimate Look at Black Theatre. Los Angeles: Forte’, 2009.Google Scholar
Fraden, Rena. Blueprints for a Black Federal Theatre, 1935–1939. Cambridge; New York: Cambridge University Press, 1994.Google Scholar
Garry David and the Community Protection Act, film, dir. Shannon, Mark. Victoria: RMIT, 1991.Google Scholar
Gates, Henry Louis, Jr., and Jarrett, Gene Andrew. The New Negro: Readings on Race, Representation, and African American Culture, 1892–1938. Princeton: Princeton University Press, 2007.Google Scholar
Gayle, Addison. The Black Aesthetic. Garden City, NY: Doubleday, 1971.Google Scholar
George-Graves, Nadine. The Royalty of Negro Vaudeville: The Whitman Sisters and the Negotiation of Race, Gender and Class in African American Theater, 1900–1940. New York: St. Martin’s Press, 2000.Google Scholar
George-Graves, NadineUrban Bush Women: Twenty Years of African American Dance Theater, Community Engagement, and Working It Out. Madison: University of Wisconsin Press, 2010.Google Scholar
Gill, Glenda Eloise. White Grease Paint on Black Performers: A Study of the Federal Theatre of 1935–1939. New York: P. Lang, 1988.Google Scholar
Glasco, Laurence Admiral, and Rawson, Christopher. August Wilson: Pittsburgh Places in His Life and Plays. Pittsburgh: Pittsburgh History & Landmarks Foundation, 2011.Google Scholar
Goddard, Lynette. Staging Black Feminisms: Identity, Politics, Performance. Basingstoke; New York: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Goodman, Gerald Thomas. “The Black Theatre Movement,” Ph.D. dissertation. University of Pennsylvania, 1975.
Graham, Maryemma, and Ward, Jerry Washington. The Cambridge History of African American Literature. New York: Cambridge University Press, 2011.CrossRefGoogle Scholar
Gray, John. Black Theatre and Performance: A Pan-African Bibliography. New York: Greenwood Press, 1990.Google Scholar
Haedicke, Susan C, and Nellhaus, Tobin. Performing Democracy: International Perspectives on Urban Community-Based Performance. Ann Arbor: University of Michigan Press, 2001.CrossRefGoogle Scholar
Harrison, Paul Carter, Walker, Victor Leo II, and Edwards, Gus (eds). Black Theatre: Ritual Performance in the African Diaspora. Philadelphia: Temple University Press, 2002.
Hatch, James Vernon, and Hamalian, Leo. Lost Plays of the Harlem Renaissance, 1920–1940. Detroit: Wayne State University Press, 1996.Google Scholar
Hatch, James Vernon, and Shine, Ted. Black Theatre USA: Plays by African Americans 1847 to Today, 2 vols. New York: Free Press, 1996.Google Scholar
Hay, Samuel A.African American Theatre: An Historical and Critical Analysis. Cambridge; New York: Cambridge University Press, 1994.CrossRefGoogle Scholar
Herrington, Joan. I Ain’t Sorry for Nothin’ I Done: August Wilson’s Process of Playwriting. New York: Limelight Editions, 1998.Google Scholar
Herrington, Joan, and Wilson, August. August Wilson in an Hour. Hanover, NH: In an Hour Books, 2010.Google Scholar
Hill, Errol. Black Heroes: Seven Plays. New York: Applause Theatre, 1989.Google Scholar
Hill, ErrolShakespeare in Sable: A History of Black Shakespearean Actors. Amherst: University of Massachusetts Press, 1984.Google Scholar
Hill, ErrolThe Jamaican Stage, 1655–1900: Profile of a Colonial Theatre. Amherst: University of Massachusetts Press, 1992.Google Scholar
Hill, ErrolThe Theater of Black Americans: A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, 1980.Google Scholar
Hill, ErrolThe Trinidad Carnival: Mandate for a National Theatre. Austin: University of Texas Press, 1972.Google Scholar
Hill, Errol, and Hatch, James Vernon. A History of African American Theatre. Cambridge; New York: Cambridge University Press, 2003.Google Scholar
Huggins, Nathan Irvin (ed.). Voices from the Harlem Renaissance. Oxford: Oxford University Press, 1995 [1976].
Hughes, Langston. The Collected Works of Langston Hughes, ed. Arnold Rampersad, Dolan Hubbard, and Leslie Catherine Sanders, 18 vols, Vol. vi: Gospel Plays, Operas, and Later Dramatic Works, ed. and introd. Sanders, Leslie Catherine. Columbia: University of Missouri Press, 2004.Google Scholar
Hutchinson, George. The Cambridge Companion to the Harlem Renaissance. New York: Cambridge University Press, 2007.CrossRefGoogle Scholar
Hutchinson, GeorgeThe Harlem Renaissance in Black and White. Cambridge, MA: Belknap Press, 1995.Google Scholar
Jennings, La Vinia Delois. Alice Childress. New York; London: Twayne; Prentice-Hall, 1995.Google Scholar
Jones, James Earl, and Niven, Penelope. James Earl Jones: Voices and Silences. New York: Scribner; Toronto: Maxwell Macmillan Canada; New York: Maxwell Macmillan International, 1993.Google Scholar
Justice-Malloy, Rhona, and Mid-America Theatre Conference. African and African American Theatre Past and Present, Theatre History Studies 30. Tuscaloosa: University of Alabama Press, 2010.Google Scholar
Keppel, Ben. The Work of Democracy: Ralph Bunche, Kenneth B. Clark, Lorraine Hansberry, and the Cultural Politics of Race. Cambridge, MA: Harvard University Press, 1995.Google Scholar
King, Woodie. Black Theatre, Present Condition. New York: National Black Theatre Touring Circuit, 1981.Google Scholar
King, WoodieThe Impact of Race: Theatre and Culture. New York: Applause Theatre & Cinema Books; Milwaukee: Sales & Distribution, North America, Hal Leonard Corporation, 2003.Google Scholar
King, WoodieThe National Black Drama Anthology: Eleven Plays from America’s Leading African-American Theaters. New York: Applause, 1995.Google Scholar
King, WoodieNew Plays for the Black Theatre. Chicago: Third World Press, 1989.Google Scholar
King, Woodie, and Milner, Ron. Black Drama Anthology. New York: Columbia University Press, 1972.Google Scholar
Kodicek, Susan, and Lang, Peter. Black Theatre for Children. London: Pelham, 1977.Google Scholar
Kolin, Philip C. (ed.). Contemporary African American Women Playwrights: A Casebook. London; New York: Routledge, 2007.
Krasner, David. A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. New York: Palgrave Macmillan, 2002.CrossRefGoogle Scholar
Krasner, DavidResistance, Parody, and Double Consciousness in African American Theatre, 1895–1910. New York: St. Martin’s Press, 1997.Google Scholar
Lindfors, Bernth. Ira Aldridge, the African Roscius. Rochester, NY: University of Rochester Press, 2007.Google Scholar
Manuel Pérez, Hely, and Walker, Victor Leo II. Black Theatre’s Unprecedented Times. Gainesville, FL: Black Theatre Network News, 1999.Google Scholar
Marsh-Lockett, Carol P.Black Women Playwrights: Visions on the American Stage. New York: Garland, 1999.Google Scholar
Mason, Jeffrey D., and Ellen Gainor, J.. Performing America: Cultural Nationalism in American Theater. Ann Arbor: University of Michigan Press, 1999.CrossRefGoogle Scholar
McAllister, Marvin Edward. White People Do Not Know How to Behave at Entertainments Designed for Ladies & Gentlemen of Colour: William Brown’s African & American Theater. Chapel Hill: University of North Carolina Press, 2003.Google Scholar
McAllister, Marvin EdwardWhiting Up: Whiteface Minstrels & Stage Europeans in African American Performance. Chapel Hill: University of North Carolina Press, 2011.CrossRefGoogle Scholar
Meer, Sarah. Uncle Tom Mania: Slavery, Minstrelsy, and Transatlantic Culture in the 1850s. Athens: University of Georgia Press, 2005.Google Scholar
Miller, Henry D.Theorizing Black Theatre: Art versus Protest in Critical Writings, 1898–1965. Jefferson, NC: McFarland, 2011.Google Scholar
Mitchell, Koritha. Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930. Urbana: University of Illinois Press, 2011.Google Scholar
Mitchell, Loften. Black Drama: The Story of the American Negro in the Theatre. New York: Hawthorn Books, 1967.Google Scholar
Mitchell, LoftenVoices of the Black Theatre. Clifton, NJ: J. T. White, 1975.Google Scholar
Moynagh, Maureen Anne. African-Canadian Theatre. Toronto: Playwrights Canada Press, 2005.Google Scholar
Mündel, Ingrid, and Knowles, Ric. “Ethnic,” Multicultural and Intercultural Theatre. Toronto: Playwrights Canada Press, 2009.Google Scholar
Nadel, Alan. August Wilson: Completing the Twentieth-Century Cycle. Iowa City: University of Iowa Press, 2010.Google Scholar
Nadel, Alaned. May All Your Fences Have Gates: Essays on the Drama of August Wilson. Iowa City: University of Iowa Press, 1994.Google Scholar
Nathans, Heather S.Slavery and Sentiment on the American Stage, 1787–1861: Lifting the Veil of Black. Cambridge; New York: Cambridge University Press, 2009.Google Scholar
Nathans, Heather S., and David C. Driskell Center. August Wilson Celebrated. Hamden, CT: New England Theatre Conference, 2008.Google Scholar
Nemiroff, Robert, and Hansberry, Lorraine. To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. New York: New American Library, 1970.Google Scholar
New Lafayette Theatre. “Black Theatre.” Black Theatre: A Periodical of the Black Theatre Movement, 1 (1968): n.p.Google Scholar
Nyongó, Tavia Amolo Ochieng’. The Amalgamation Waltz: Race, Performance and the Ruses of Memory. Minneapolis: University of Minnesota Press, 2009.Google Scholar
Ogbar, Jeffrey Ogbonna Green. The Harlem Renaissance Revisited: Politics, Arts, and Letters. Baltimore: Johns Hopkins University Press, 2010.Google Scholar
Pereira, Kim. August Wilson and the African-American Odyssey. Urbana: University of Illinois Press, 1995.Google Scholar
Perkins, Kathy A. (ed.). Black Female Playwrights: An Anthology of Plays before 1950. Bloomington: Indiana University Press, 1989.
Peterson, Bernard L.The African American Theatre Directory, 1816–1960: A Comprehensive Guide to Early Black Theatre Organizations, Companies, Theatres, and Performing Groups. Westport, CT: Greenwood Press, 1997.Google Scholar
Peterson, Bernard L.Contemporary Black American Playwrights and Their Plays: A Biographical Directory and Dramatic Index. New York: Greenwood Press, 1988.Google Scholar
Pitts, Ethel Louise. “The American Negro Theatre, 1940–1949,” Ph.D. dissertation. University of Missouri–Columbia, 1975.
Robeson, Paul. The Undiscovered Paul Robeson: An Artist’s Journey, 1898–1939. New York: Wiley, 2001.Google Scholar
Robeson, Paul, and Foner, Philip Sheldon. Paul Robeson Speaks: Writings, Speeches, Interviews, 1918–1974. New York: Brunner/Mazel, 1978.Google Scholar
Roediger, David R. (ed. and introd.). Black on White: Black Writers on What It Means to Be White. New York: Schocken Books, 1998.
Rugg, Rebecca Ann, and Young, Harvey (eds.). Reimagining A Raisin in the Sun: Four New Plays. Evanston, IL: Northwestern University Press, 2012.
Sanders, Leslie Catherine. The Development of Black Theater in America: From Shadows to Selves. Baton Rouge: Louisiana State University Press, 1988.Google Scholar
Schiffman, Jack. Harlem Heyday: A Pictorial History of Modern Black Show Business and the Apollo Theatre. Buffalo, NY: Prometheus Books, 1984.Google Scholar
Schomburg Center for Research in Black Culture. Scenes from the 20th Century Stage: Black Theatre in Photographs, catalog of an exhibition, Schomburg Center for Research in Black Culture. New York: New York Public Library, Schomburg Center for Research in Black Culture, 1983.Google Scholar
Sears, Djanet. Testifyin’: Contemporary African Canadian Drama. Toronto: Playwrights Canada Press, 2000.Google Scholar
Sell, Mike. Avant-Garde Performance & the Limits of Criticism: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement. Ann Arbor: University of Michigan Press, 2005.Google Scholar
Seller, Maxine. Ethnic Theatre in the United States. Westport, CT: Greenwood Press, 1983.Google Scholar
Shakong, Samuel. “A Study of Black Theatre from the 1930’s through the 1960’s,” M.A. dissertation. Adephi University, 1975.
Shannon, Sandra Garrett. August Wilson’s Fences: A Reference Guide. Westport, CT: Greenwood Press, 2003.Google Scholar
Shannon, Sandra Garrett“Baraka, Black Ethos, and the Black Arts Movement: A Study of Amiri Baraka’s Drama during the Black Arts Movement from 1964–1969,” Ph.D. dissertation. University of Maryland, 1988.
Shannon, Sandra GarrettThe Dramatic Vision of August Wilson. Washington, DC: Howard University Press, 1995.Google Scholar
Shannon, Sandra Garrett, and Williams, Dana A.. August Wilson and Black Aesthetics. New York: Palgrave Macmillan, 2004.CrossRefGoogle Scholar
Silver, Reuben. “A History of the Karamu Theatre of Karamu House, 1915–1960,” Ph.D. dissertation. Ohio State University, 1961.
Smethurst, James Edward. The Black Arts Movement: Literary Nationalism in the 1960s and 1970s. Chapel Hill: University of North Carolina Press, 2005.Google Scholar
Smith, Eric Ledell. Bert Williams: A Biography of the Pioneer Black Comedian. Jefferson, NC: McFarland, 1992.Google Scholar
Snodgrass, Mary Ellen. August Wilson: A Literary Companion. Jefferson, NC: McFarland, 2004.Google Scholar
Steen, Shannon. Racial Geometries of the Black Atlantic, Asian Pacific and American Theatre. Basingstoke; New York: Palgrave Macmillan, 2010.CrossRefGoogle Scholar
Thomas, Lundeana Marie. Barbara Ann Teer and the National Black Theatre: Transformational Forces in Harlem. New York: Garland, 1997.Google Scholar
Thomas, Lundeana Marie“Barbara Ann Teer’s National Black Theatre Quintessential Community Theatre in Harlem,” Ph.D. dissertation. University of Michigan, 1993.
Ugwu, Catherine. Let’s Get It On: The Politics of Black Performance. London: Institute of Contemporary Arts; Seattle: Bay Press, 1995.Google Scholar
Vogel, Shane. The Scene of Harlem Cabaret: Race, Sexuality, Performance. Chicago: University of Chicago Press, 2009.Google Scholar
Washington, Rhonnie Lynn. “The Relationship between the White Critic and the Black Theatre from 1959–1969,” Ph.D. dissertation. University of Michigan, 1984.
Waters, Hazel. Racism on the Victorian Stage: Representation of Slavery and the Black Character. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Wetmore, Kevin J.Black Dionysus: Greek Tragedy and African American Theatre. Jefferson, NC: McFarland, 2003.Google Scholar
Williams, Bert, Etting, Ruth, Buchanan, John, et al. Follies, Scandals, and Other Diversions: From Ziegfeld to the Shuberts, audio recording. New York: New World Records, 1977.Google Scholar
Williams, Dana, and Shannon, Sandra. August Wilson and Black Aesthetics. New York: Palgrave Macmillan, 2006.Google Scholar
Williams, Mance. Black Theatre in the 1960s and 1970s: A Historical-Critical Analysis of the Movement. Westport, CT: Greenwood Press, 1985.Google Scholar
Wilson, August. August Wilson Century Cycle. New York; St. Paul, MN: Theatre Communications Group, 2007.Google Scholar
Wilson, Sondra K., and National Association for the Advancement of Colored People. The Crisis Reader: Stories, Poetry, and Essays from the NAACP’s Crisis Magazine. New York: Modern Library, 1999.Google Scholar
Witham, Barry. The Federal Theatre Project: A Case Study. Cambridge; New York: Cambridge University Press, 2003.Google Scholar
Wolfe, Peter. August Wilson. New York: Twayne Publishers, 1999.Google Scholar
Woll, Allen L.Black Musical Theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989.Google Scholar
Woll, Allen L.Dictionary of the Black Theatre: Broadway, Off-Broadway, and Selected Harlem Theatre. Westport, CT: Greenwood Press, 1983.Google Scholar
Young, Harvey. Embodying Black Experience: Stillness, Critical Memory, and the Black Body. Ann Arbor: University of Michigan Press, 2010.CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Further reading
  • Edited by Harvey Young, Northwestern University, Illinois
  • Book: The Cambridge Companion to African American Theatre
  • Online publication: 05 December 2012
  • Chapter DOI: https://doi.org/10.1017/CCO9781139062107.016
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Further reading
  • Edited by Harvey Young, Northwestern University, Illinois
  • Book: The Cambridge Companion to African American Theatre
  • Online publication: 05 December 2012
  • Chapter DOI: https://doi.org/10.1017/CCO9781139062107.016
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Further reading
  • Edited by Harvey Young, Northwestern University, Illinois
  • Book: The Cambridge Companion to African American Theatre
  • Online publication: 05 December 2012
  • Chapter DOI: https://doi.org/10.1017/CCO9781139062107.016
Available formats
×