Revealing the Ambiguious Black Theatre

Finding a wide core like the Black Theater is the ultimate job that people can accept. The nature and structure of the Black Theater is quite complicated and not everyone agrees with the exact components of the Black Theater. How can someone decide what the black theater is. I have the right to decide who is the black theater. What are these decisions based on? I am honored to be able to explore these aspects of the Black Theater. Through extensive research and discovery, I am evaluating the view of the Black Theater and planning to develop an accurate definition of black drama.

Between the Harlem Renaissance of the 1920s and 1930s, the black theater prospered. The experiment group and Black Theater Company appeared in Washington, DC in Chicago, New York and Washington, DC. Among them is the Ethiopian Art Theater. This established Paul Robinson as the most important black actor in the United States. Garland Anderson's theater "appearance" (1925) was the first black work on Broadway, but until the Langton Hughes' Mr. Murat (1935) gained extensive praise, the Black Theater did not produce the influence of Broadway. In the same year, the Federal Theater Project was established to provide a training ground for the black people. In the late 1930s, the black community theater began to appear, and talents such as Ossie Davis and Ruby Dee appeared. By 1940, the Black Theater was firmly rooted in the Afro - American Theater and Black Drama Company.

Ten years ago to announce the film script, Orson Wells performed Macbeth as a black drama department of the Federal Theater project at Harlem Lafayette Theater, and acted with a black actor in Haiti. The ceremony established the witch's scene. This work, called The Voodoo Macbeth, was inflamed after Harlem's riot, was accused of killing black culture and was known as "funny black movement" until Mr. Wells convinced the crowd to use the black actor. Voodoo presents an important cultural statement

In this context, black theaters were politicized as black playwrights tried to cope with concerns under the apartheid system. Hauptfleisch and Steadman argue that the main contradiction of the Black Theater is apartheid. As a result, playwrights and theater experts have created a big work that revealed this ideological contradiction at the Black Theater 34. Likewise, Epskamp, ​​"theater" and "politics", drama producers in the 1960s and 70s, called the people social responsibility (administrator and policy maker), regime (politicians) and the people they called We accepted part of the population. Observed Epskamp: