Black theatre, within the rich tapestry of performing arts, serves as a poignant testament to the depth of culture, history, and creativity within the black community. From the groundbreaking narratives of August Wilson to the contemporary innovations of playwrights like Tarell Alvin McCraney, black theatre resonates with audiences and amplifies essential stories. Yet, behind each captivating stage production lies an often-overlooked process: the crucial readings and rehearsals that refine and shape the final performance.
Before a play graces the spotlight, it embarks on a developmental journey critical for black theatre’s authenticity and impact. Readings, workshops, and rehearsals provide a platform for playwrights, directors, and actors to delve into themes, characters, and dialogue with depth and nuance. Particularly for black theatre, these early stages hold immense significance, allowing artists to explore complex issues of identity, race, and social justice authentically.
The necessity for black theatre readings arises from a commitment to ensuring accurate and respectful representation of black, brown, and LGBTQ communities. Through collaborative table reads and workshops, artists refine scripts, tackle challenging themes, and celebrate the diverse perspectives within the black diaspora. These readings serve as incubators for creativity and dialogue, empowering artists to elevate their craft and contribute meaningfully to the artistic landscape.
Moreover, black theatre readings offer a vital platform for emerging playwrights and performers to showcase their talents and amplify their voices. In an industry where opportunities for minority artists can be scarce, these readings provide essential connections with mentors, collaborators, and audiences. By championing diversity and inclusivity throughout the creative process, black theatre readings enrich the artistic community and foster greater representation and equity.
In addition to honoring the significance of readings, it’s essential to celebrate the contributions of black, brown, and LGBTQ writers and performers in theatre. Often marginalized or overlooked, these trailblazing artists have shaped and enriched black theatre with their extraordinary talents. From luminaries like Lorraine Hansberry to Sidney Poitier, their voices deserve recognition and celebration.
Our commitment to black theatre extends beyond homage to classic works; it encompasses nurturing new talent and amplifying underrepresented voices. By providing opportunities for Philadelphia theatre makers to direct and narrate readings of Broadway classics, we broaden the scope of inclusivity and creativity within the industry. These readings not only provide a platform for aspiring actors but also inspire audiences to witness the next generation of theatre talent.
In conclusion, black theatre readings are not merely a precursor to the final performance; they are an integral part of the creative journey, fostering collaboration, dialogue, and discovery. By embracing readings and honoring diverse talent, we ensure the continued vibrancy and relevance of black theatre in the performing arts landscape. Let us raise our voices, celebrate achievements, and embrace the transformative power of black theatre as we eagerly anticipate the next chapter of its evolution.
In the vibrant landscape of American theater, there exists a captivating duality – African-American theater and Black theater. These two entities share a common thread of representing the Black experience, yet they differ in subtle but meaningful ways. Both these theaters face unique challenges within an industry that has often marginalized them, making it crucial to examine how they coexist while persevering in a narrative that has often overlooked their voices.
Defining African-American Theater and Black Theater
African-American theater, in its essence, refers to the theater that centers on the experiences, stories, and culture of African-Americans. It has roots in the struggle for civil rights and social justice, with historical figures like Lorraine Hansberry and August Wilson making significant contributions. African-American theater often tackles issues of racial identity, discrimination, and the fight for equality.
On the other hand, Black theater takes a more encompassing approach. It doesn’t limit itself to African-Americans but extends its reach to encompass the entire African diaspora. Black theater explores the shared experiences of Black people worldwide, transcending geographical boundaries. This broader perspective allows Black theater to connect with an even wider audience and tackle a variety of global issues related to Black culture.
Coexistence in the Theater World
The theater world, often criticized for its lack of diversity and opportunities for Black artists, has begun to recognize the importance of both African-American and Black theater. These distinct forms of expression coexist by occupying different niches within the industry. African-American theater remains a vital tool for addressing the specific struggles faced by African-Americans in the United States. In contrast, Black theater, with its global focus, provides a platform to celebrate the rich and diverse tapestry of the Black experience worldwide.
Challenges and Triumphs
Both African-American theater and Black theater face unique challenges. These challenges, however, have not deterred their perseverance.
Representation: The fight for representation in theater is ongoing. Both African-American and Black theater have struggled to secure their rightful place on the stage, but they persist in sharing stories that need to be told.
Funding and Resources: Access to funding and resources remains a challenge. Despite this, dedicated artists have found innovative ways to produce remarkable work, such as crowdfunding and community support.
Recognition: Achieving recognition for their contributions can be an uphill battle. However, accolades and awards for actors, directors, and playwrights from these theaters continue to grow, providing well-deserved recognition for their talent and dedication.
The Survival of the Black Experience in American Theater
The Black experience is both resilient and transformative. It continues to evolve, adapt, and persevere in the narrative of American theater. African-American and Black theaters play a pivotal role in this narrative, ensuring that the stories of Black people are not just heard but celebrated. Their existence challenges the industry to become more inclusive and open to diverse narratives.
In conclusion, the difference between African-American theater and Black theater is rooted in scope and perspective. They coexist as vital contributors to American theater, making space for underrepresented voices and celebrating the rich tapestry of Black experiences. Together, they defy the industry’s tendency to look from the outside in and pave the way for a more inclusive and diverse theater landscape in America. The Black experience is not just surviving but thriving in the ever-evolving narrative of American theater.
Title: Navigating the Duality: African-American Theater vs. Black Theater
In the vibrant landscape of American theater, there exists a captivating duality – African-American theater and Black theater. These two entities share a common thread of representing the Black experience, yet they differ in subtle but meaningful ways. Both these theaters face unique challenges within an industry that has often marginalized them, making it crucial to examine how they coexist while persevering in a narrative that has often overlooked their voices.
Defining African-American Theater and Black Theater
African-American theater, in its essence, refers to the theater that centers on the experiences, stories, and culture of African-Americans. It has roots in the struggle for civil rights and social justice, with historical figures like Lorraine Hansberry and August Wilson making significant contributions. African-American theater often tackles issues of racial identity, discrimination, and the fight for equality.
On the other hand, Black theater takes a more encompassing approach. It doesn’t limit itself to African-Americans but extends its reach to encompass the entire African diaspora. Black theater explores the shared experiences of Black people worldwide, transcending geographical boundaries. This broader perspective allows Black theater to connect with an even wider audience and tackle a variety of global issues related to Black culture.
Coexistence in the Theater World
The theater world, often criticized for its lack of diversity and opportunities for Black artists, has begun to recognize the importance of both African-American and Black theater. These distinct forms of expression coexist by occupying different niches within the industry. African-American theater remains a vital tool for addressing the specific struggles faced by African-Americans in the United States. In contrast, Black theater, with its global focus, provides a platform to celebrate the rich and diverse tapestry of the Black experience worldwide.
Challenges and Triumphs
Both African-American theater and Black theater face unique challenges. These challenges, however, have not deterred their perseverance.
Representation: The fight for representation in theater is ongoing. Both African-American and Black theater have struggled to secure their rightful place on the stage, but they persist in sharing stories that need to be told.
Funding and Resources: Access to funding and resources remains a challenge. Despite this, dedicated artists have found innovative ways to produce remarkable work, such as crowdfunding and community support.
Recognition: Achieving recognition for their contributions can be an uphill battle. However, accolades and awards for actors, directors, and playwrights from these theaters continue to grow, providing well-deserved recognition for their talent and dedication.
The Survival of the Black Experience in American Theater
The Black experience is both resilient and transformative. It continues to evolve, adapt, and persevere in the narrative of American theater. African-American and Black theaters play a pivotal role in this narrative, ensuring that the stories of Black people are not just heard but celebrated. Their existence challenges the industry to become more inclusive and open to diverse narratives.
In conclusion, the difference between African-American theater and Black theater is rooted in scope and perspective. They coexist as vital contributors to American theater, making space for underrepresented voices and celebrating the rich tapestry of Black experiences. Together, they defy the industry’s tendency to look from the outside in and pave the way for a more inclusive and diverse theater landscape in America. The Black experience is not just surviving but thriving in the ever-evolving narrative of American theater.
“If you get a chance to act in a room that somebody else has paid rent for, then you’re given a free chance to practice your craft.”
#phillipseymourhoffman
I have the privilege of watching some of Philadelphia and it’s surrounding areas talents and for me it’s always a treat. Watching someone work to become a character is an amazing thing. No matter how small or large the part in the end it’s about putting in the work and showing the audience you are that character.
Just imagine if we never got the chance to see #chadwickboseman pull off one of his most iconic rolls as #blackpanther would we had felt the joy that the billions felt around the world or experience his acting accomplishment and be able to say when we all walked out the thwarted “can’t wait for the next one.” The believe ability like in this scene here with @quinteromoore and @pap.l1 it takes a lot to be a psychopath and a criminal. Watching them was a treat as Luis was there from the beginning working on his part and in the last two weeks of rehearsal Terry came onboard and they had too not only create a circumstance of believability but build chemistry and trust that would make a scene not just believable but memorable for the audience and they did just that 👍🏾 We need to all remember how these moments mean so much for so many reasons and people for writers and directors it’s a treat to see his, her or there work coming to life and for the actor pulling it off is magical in its own right.
Over the weekend we wrapped up underground episode. This was a test on how to run a show for two weeks and I must say there was a lot to be learned but it is definitely worth it. First things first, the cast compose of both veterans and newbies with a short timeframe of two months to learn probably one of the most challenging work that some of them have been a part of. For many including myself it was jumping from one production to another that was a challenge however for others it was just coming in and beginning the task at hand.
This time around we utilized collaborating with makeup artist Andrea Blassingame to create the looks, set up radio time for interviews, bloggers, and paid advertising in the metro Philly to get the word out on the production. We also utilized the site which the facility used instead of going the eventbrite way.
It was scary but I had to see what we could do and the end result turned out to be what we wanted. Now we are gearing up for next year to actually take advantage of all we learned.
The beauty of it all was swing how no matter what RunBoyRunProduction still continues to grow as a family and in the end this makes for good business.
The best acting is instinctive. It’s not intellectual, it’s not mechanical, it’s instinctive. ~ Craig MacDonald
He walked ín took his place with an introduction and waited for time. He stood with paper in hand and began speaking words that he had never seen before and made others see him as believable. His became the husband and seeing the picture of his wife made it clear that he wasn’t just being thrown in a moment but a believability of a situation that could be…
If there is anything that I am learning about theater is that from the beginning g to it’s end it contains a lot if work. I was so excited to see my co-director that I let her take the helm so I can focus on cast members and things they want to focus on like overall character development and giving them the latest news on or progress with the play. Another week done and the positives keep coming…
The beauty of watching the cast is watching them develop chemistry among one another and character with themselves. For many the challenge of becoming a character invokes an understanding of knowing the frustrations and attitude of the character. For the most part, utilizing parts of ones life can be the best motivation like work and how it plays an intricate part to your everyday you can feel the frustration and pains it can cause to push forward into a role..
Friday was a day of chaos in the evening as I made my way to meet up with Kris at the Greyhound station in town. Now it wasn’t the waiting but the chaos that happened while there that amazed me. Already her bus was late as it’s arrival was slated for 6oclock and with time ticking many people gathered to leave for the big apple. The line was complete madness as people began getting angry and it started to show in body language and then two men got into a fist fight over space. Needless to say this showed me just how unprepared greyhound security truly are for situations but great for picking up a check.
When Kris arrived at7:30 she told me about a man that couldn’t keep still, and a woman that couldn’t keep her dog quiet, talk about a ride from hell. Well we finally made it on our way to the fringe as gatherings of people were out and about for first Friday gatherings all over Old City. When we got there the buildup of people was big but I knew she was a little exhausted so we went straight for the programs and began flipping through the pages. Page after page we flipped and it seemed like a lifetime and then we saw it the Runboyrun ad and that made our day that we had to share the picture to the world…so here we are all we made it..
With live theater there is a greatness to it watching actors and actress become characters and identities that they probably couldn’t see themselves as. However the other side to this is watching g an audience become enthralled with the scene and in many cases wondering what’s going to happen next while identifying with the actors character. It is in the live setting that entertainers learn more about themselves as well as the craft of acting.
Run Boy Run Production 