Clash of Titans: Battle for the Soul and Voice of African American Theatre
On the night of January 27, 1995, two great men of the theatre meet at Town Hall in New York City to discuss the role of African Americans in the American Theatre profession. What comes before and after is a testament to the racial issues manifest in American Theatre.
William Grimes’ January 29, 1997 review Face-to-Face Encounter on Race in the Theater redefines the Wilson/Brustein discussion as a debate addressing issues that include “the scarcity of black theaters in the United States, the desirability of color-blind casting and the possibility of developing and presenting plays about the black experience in white institutions.” --- Robert Brustein, Director at the …show more content…
August Wilson’s October 1996 The New Republic column Subsidized Separatism proffers Brustein questioning, “I am not at all certain anymore what constitutes a ‘Black’ or a ‘White’ theatre. Most American theatres today, like many American cities – indeed like many Americans – are racially mixed.” Wilson defends African American artists’ rights ---”We are being strangled by our well-meaning friends. Money spent ‘diversifying’ the American theatre only strengthens and solidifies this stranglehold by making our artists subject to the paternalistic notions of White …show more content…
In David Lefkowitz’s January 1997 article The Big Event: Wilson vs. Brustein at Town Hall outlined Smith’s reasons for hosting the debate, "‘James Baldwin,’ Smith began, ‘once wrote of the illusion of safety. We create the illusion to feel safe, but we also know the safety is just an illusion.’ Making clear that race would lie at the heart of the Wilson/Brustein debate, Smith also referred to Louis Farrakhan's speech at the Million Man March on Washington DC, at which he chided the Constitution's phrase, ‘in order to form a more perfect union.’ `If it's perfect,' Smith quoted, `how can it be more? […] We are shaky,’ Smith admitted, yet she expressed hope that Wilson and Brustein would find common ground in their words and expressions.” Once the forum began, Smith probed Wilson - "Can blacks do Chekhov?” to which Wilson responded, “‘I much prefer they do art of their specific ethnic genre,’ adding that color-blind casting ‘denies the person on stage his own identity.’ Brustein countered that the main purpose of nontraditional casting was to ‘get the best possible actor in a role regardless of race,’ not, as Wilson said, to afford employment for minorities.” Robin Simonson’s February
On the night of January 27, 1995, two great men of the theatre meet at Town Hall in New York City to discuss the role of African Americans in the American Theatre profession. What comes before and after is a testament to the racial issues manifest in American Theatre.
William Grimes’ January 29, 1997 review Face-to-Face Encounter on Race in the Theater redefines the Wilson/Brustein discussion as a debate addressing issues that include “the scarcity of black theaters in the United States, the desirability of color-blind casting and the possibility of developing and presenting plays about the black experience in white institutions.” --- Robert Brustein, Director at the …show more content…
August Wilson’s October 1996 The New Republic column Subsidized Separatism proffers Brustein questioning, “I am not at all certain anymore what constitutes a ‘Black’ or a ‘White’ theatre. Most American theatres today, like many American cities – indeed like many Americans – are racially mixed.” Wilson defends African American artists’ rights ---”We are being strangled by our well-meaning friends. Money spent ‘diversifying’ the American theatre only strengthens and solidifies this stranglehold by making our artists subject to the paternalistic notions of White …show more content…
In David Lefkowitz’s January 1997 article The Big Event: Wilson vs. Brustein at Town Hall outlined Smith’s reasons for hosting the debate, "‘James Baldwin,’ Smith began, ‘once wrote of the illusion of safety. We create the illusion to feel safe, but we also know the safety is just an illusion.’ Making clear that race would lie at the heart of the Wilson/Brustein debate, Smith also referred to Louis Farrakhan's speech at the Million Man March on Washington DC, at which he chided the Constitution's phrase, ‘in order to form a more perfect union.’ `If it's perfect,' Smith quoted, `how can it be more? […] We are shaky,’ Smith admitted, yet she expressed hope that Wilson and Brustein would find common ground in their words and expressions.” Once the forum began, Smith probed Wilson - "Can blacks do Chekhov?” to which Wilson responded, “‘I much prefer they do art of their specific ethnic genre,’ adding that color-blind casting ‘denies the person on stage his own identity.’ Brustein countered that the main purpose of nontraditional casting was to ‘get the best possible actor in a role regardless of race,’ not, as Wilson said, to afford employment for minorities.” Robin Simonson’s February