"When Gus Edwards discovered that the majority of the young actors, playwrights, and teachers he encountered didn't know who Nat Turner was - nor many other key men and women in black history - he summoned the power of theatre to correct the situation. Black Heroes in Monologues brings these and other influential African Americans to life once again."--BOOK JACKET.

Extraordinary, action-oriented, off-the-beaten path monologues for teenagers.

Gus Edwards returns with a second collection of probing and practical monologues on Black life.

African American Theater is a vibrant and unique entity enriched by ancient Egyptian rituals, West African folklore, and European theatrical practices. A continuum of African folk traditions, it combines storytelling, mythology, rituals, music, song, and dance with ancestor worship from ancient times to the present. It afforded black artists a cultural gold mine to celebrate what it was like to be an African American in The New World. The A to Z of African American Theater celebrates nearly 200 years of black theater in the United States, identifying representative African American theater-producing organizations and chronicling their contributions to the field from its birth in 1816 to the present. This is done through a chronology, an introductory essay, a bibliography, and over 500 cross-referenced dictionary entries on actors, directors, playwrights, plays, theater producing organizations, themes, locations, and theater movements and awards.

This collection of powerful and original monologues for African American men and women offer a refreshing alternative to recycled standards.

This book addresses the creative and professional challenges of acting from a specifically African American perspective.

This second edition of Historical Dictionary of African American Theater reflects the rich history and representation of the black aesthetic and the significance of African American theater’s history, fleeting present, and promise to the future. It celebrates nearly 200 years of black theater in the United States and the thousands of black theater artists across the country—identifying representative black theaters, playwrights, plays, actors, directors, and designers and chronicling their contributions to the field from the birth of black theater in 1816 to the present. This second edition of Historical Dictionary of African American Theater, Second Edition contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on actors, playwrights, plays, musicals, theatres, -directors, and designers. This book is an excellent resource for students, researchers, and anyone wanting to know and more about African American Theater.

Within this collection you shall find comedy, drama, absurdity, philosophy, realism... womanizers, wannabe rappers, millionaires, lovers, poets, fathers, brothers, mothers, daughters, sons, sisters, heroes, witches, a rock star, a hobo and even a homosexual Satan within 10 complete one acts, 20 scenes from full length plays, 70 monologues and a complete play. All the scenes and monologues vary in length, depth and difficulty to suit any actor or director's contemporary needs. Featured plays are ...And Then There's Roy (Entire play included), Bimbo Witches, Killing Present, Left in Yesterday's, Maybe if Tom Cruise Were Here..., Panther Piss and Reflections of a Blur. Original One Acts include, A Shade of Red, Guardians, Lingering Spaces, Outside Rooms, Please Don't Bleech My Bongo, Promoting Heroism, Running on E, Sharp Alley, Starving Needs and Taking a Mope.

With new momentum, the Brazilian black movement is working to bring attention to and change the situation of structural racism in Brazil. Black consciousness advocates are challenging Afro-Brazilians to define themselves and politically organize around being black, and more Afro-Brazilians are increasingly doing so. Other segments of the Brazilian black movement are working to influence legislation and implement formal mechanisms that aim to promote racial equality, including Affirmative Action Racial Verification Committees. For advocates of these committees, one needs to be phenotypically black enough to be a more likely target of racism to qualify for Affirmative Action programs. Paradoxically, individuals are told to identify as black but only some people are considered black enough to benefit from these policies. Afro-Brazilians are presented with a whole range of identity choices, from how to classify oneself, to whether one votes for political candidates based on shared racial experiences. Between Brown and Black argues that Afro-Brazilian activists’ continued exploration of blackness confronts anti-blackness while complicating understandings of what it means to be black. Blending linguistic and ethnographic accounts, this book raises complex questions about current black struggles in Brazil and beyond, including the black movements’ political initiatives and antiracist agenda.

Gathers brief comic and dramatic monologues from a variety of plays