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Part III - Productions and Collaborations

Published online by Cambridge University Press:  09 June 2025

Edited by
Khalid Y. Long  and
Isaiah Matthew Wooden
Khalid Y. Long
Affiliation:
Howard University, Washington DC
Isaiah Matthew Wooden
Affiliation:
Swarthmore College, Pennsylvania
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Chapter
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August Wilson in Context , pp. 195 - 302
Publisher: Cambridge University Press
Print publication year: 2025

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References

Further Reading

Elam, Harry J. Jr., The Past as Present in the Drama of August Wilson (Ann Arbor: University of Michigan Press, 2006).Google Scholar
Mahala, Macelle, Black Theater, City Life: African American Art Institutions and Urban Cultural Ecologies (Evanston, IL: Northwestern University Press, 2022).CrossRefGoogle Scholar
Mahala, Macelle, Penumbra: The Premier Stage for African American Drama (Minneapolis: University of Minnesota Press, 2013).CrossRefGoogle Scholar
Shannon, Sandra G., August Wilson’s Pittsburgh Cycle: Critical Perspectives on the Plays (Jefferson, NC: McFarland & Company, 2016).Google Scholar
Wilson, August, The August Wilson Century Cycle (New York: Theatre Communications Group, 2007).Google Scholar
Wilson, August, The Ground on Which I Stand (New York: Theatre Communications Group, 2000).Google Scholar

Further Reading

Christiansen, Richard, A Theater of Our Own: A History and a Memoir of 1,001 Nights in Chicago (Evanston, IL: Northwestern University Press, 2004).Google Scholar
Geigner, Megan E., Hecht, Stuart Joel, and Mahmoud, Jasmine Jamillah, eds., Makeshift Chicago Stages: A Century of Theater and Performance (Evanston, IL: Northwestern University Press, 2021).CrossRefGoogle Scholar
Jones, Chris, Bigger, Brighter, Louder: 150 Years of Chicago Theater as Seen by Chicago Tribune Critics (Chicago: The University of Chicago Press, 2013).Google Scholar
Larson, Mark, Ensemble: An Oral History of Chicago Theater (Evanston, IL: Agate Publishing, 2019).Google Scholar
Maley, Patrick, After August: Blues, August Wilson, and American Drama (Charlottesville: University of Virginia Press, 2019).Google Scholar
Nadel, Alan, August Wilson: Completing the Twentieth-Century Cycle (Iowa City: University of Iowa Press, 2010).Google Scholar
Williams, DeRon S., Long, Khalid Y., and Green-Rogers, Martine Kei, eds., Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity (London: Methuen Drama, Bloomsbury Publishing, 2023).CrossRefGoogle Scholar

Further Reading

Bryer, Jackson and Hartig, Mary, eds., Conversations with August Wilson (Jackson: University of Mississippi Press, 2006).Google Scholar
Hartigan, Patti, August Wilson: A Life (New York: Simon and Schuster, 2023).Google Scholar
Lahr, John, “Been Here and Gone,” in The Cambridge Companion to August Wilson, ed. Bigsby, Christopher (Cambridge: Cambridge University Press, 2008), 28–51.Google Scholar
Shannon, Sandra G., “Subtle Imposition: The Lloyd Richards August Wilson Formula,” in August Wilson: A Casebook, ed. Elkins, Marilyn (New York: Garland, 1994), 183–198.Google Scholar
Sweet, Jeffrey, The O’Neill: The Transformation of American Theater (New Haven, CT: Yale University Press, 2014).Google Scholar

Further Reading

Marty, Paulette, Contemporary Women Stage Directors: Conversations on Craft (London: Bloomsbury Methuen, 2019).Google Scholar
Menson-Furr, Ladrica, August Wilson’s Fences (London: Continuum International Publishing Group, 2008).Google Scholar
Shannon, Sandra G. and Richards, Sandra L., eds., Approaches to Teaching the Plays of August Wilson (New York: The Modern Languages Association of America, 2016).Google Scholar
Stoller, Terry, Tales of the Tricycle Theatre (London: Bloomsbury Methuen, 2013).Google Scholar

Further Reading

“Guide to the August Wilson Archive, SC.2020.05,” ULS Digital Collections (2023), https://digital.library.pitt.edu/islandora/object/pitt%3Aus-ppiu-sc202005/viewer.Google Scholar
Anderson, David and Downing, Michael, “The August Wilson Archive: First Panel Discussion (January 2021),” August Wilson Journal, 3 (Spring 2021), https://doi.org/10.5195/awj.2021.68.CrossRefGoogle Scholar
Dyer, Ervin, “August Wilson’s World,” Pittwire, August 30, 2023, www.pittmag.pitt.edu/news/august-wilson-archive.Google Scholar
Glover, Eric M., Green, Omiyęmi (Artisia), LaFave, Victoria, Long, Khalid Y., Menson-Furr, Ladrica, “Encounters in the August Wilson Archive,” Theater 54, no. 1 (February 1, 2024): 98–119. https://doi.org/10.1215/01610775-10918696.Google Scholar
O’Driscoll, Bill, “August Wilson Archive Sparks Black History Month exhibit at City-County Building,” WESA 90, no. 5 (February 9, 2023), www.wesa.fm/arts-sports-culture/2023-02-09/august-wilson-archive-sparks-black-history-month-exhibit-at-city-county-building.Google Scholar
Pitz, Marylynne, “August Wilson’s Literary Archive Is Coming Home,” Pittsburgh Post-Gazette, October 29, 2020, www.post-gazette.com/ae/theater-dance/2020/10/29/August-Wilson-University-of-Pittsburgh-buys-literary-archive-Pittsburgh-Cycle-Pulitzer/stories/202010280135.Google Scholar

Further Reading

Alvarado, Pedro E., “Pittsburgh Piety: A Century of Symbolism,” in The Routledge Companion to African American Theatre and Performance, eds., Perkins, Kathy A., Richards, Sandra L., Craft, Renée Alexander, and DeFrantz, Thomas F. (London: Routledge, 2019), 165–68.Google Scholar
Bryer, Jackson R. and Hartig, Mary C., eds., Conversations with August Wilson (Jackson: University Press of Mississippi, 2006).Google Scholar
Elam, Harry J., Jr., “August Wilson’s Women,” in May All Your Fences Have Gates, ed. Nadel, Alan (Chicago: University of Iowa Press, 1993), 165–182.Google Scholar
Graham Nesmith, N., and Richards, Lloyd, “Lloyd Richards: Reminiscence of a Theatre Life and Beyond,” African American Review 39, no. 3 (2005): 281–298.Google Scholar
Rudolph, Amanda M., “Images of African Traditional Religions and Christianity in ‘Joe Turner’s Come and Gone’ and ‘The Piano Lesson’,” Journal of Black Studies 33, no. 5 (2003): 562–575.CrossRefGoogle Scholar
Shannon, Sandra G., “The Fences They Build: August Wilson’s Depiction of African-American Women,” Obsidian II 6, no. 2 (1991): 1–17.Google Scholar
Wilson, August, “I Want a Black Director,” in May All Your Fences Have Gates, ed. Nadel, Alan (Chicago: University of Iowa Press, 1993), 200–204.Google Scholar

Further Reading

Heard, Elisabeth J. and Wilson, August, “August Wilson on Playwriting: An Interview,” African American Review 35, no. 1 (2001): 93–102.CrossRefGoogle Scholar
Nathans, Heather S., “Interview with Kenny Leon,” New England Theatre Journal 19a, no. 1 (2008): 87–93.Google Scholar
Weiss, Maureen and Wickersheimer, Sibyl, eds., Scene Shift: US Set Designers in Conversation (London: CRC Press, 2022).Google Scholar
Young, Harvey and Meccasia Zabriskie, Queen, Black Theater Is Black Life: An Oral History of Chicago Theater and Dance, 1970–2010 (Evanston, IL: Northwestern University Press, 2014).Google Scholar

Further Reading

Di Benedetto, Stephen, An Introduction to Theatre Design (London: Routledge, 2013).Google Scholar
Dirks, Arthur, “Huntington Theatre Company,” New England Theatre Journal 16 (2005): 161.Google Scholar
Morris, Triffin I., Morris, Gregory D. L., and Pollock, Rachel E., A History of the Theatre Costume Business: Creators of Character (London: Routledge, 2021).Google Scholar
Perkins, Kathy, Richards, Sandra, Alexander Craft, Renée, and DeFrantz, Thomas, eds., The Routledge Companion to African American Theatre and Performance (London: Routledge, 2018).Google Scholar
Shannon, Sandra G., “Constanza Romero on August Wilson’s Legacy: Past, Present, and Future,” August Wilson Journal 1 (2019), https://doi.org/10.5195/awj.2019.31.CrossRefGoogle Scholar

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