Editorial Foreword

In their discussion of the production and its socio-cultural context, Black and Fletcher draw discerning parallels between the "fervent years"4 of the early twentieth century and our present moment, which, as they write, is similarly marked by "the domination by big business of the na...

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Bibliographic Details
Published in:The Theatre annual 2018-01, Vol.71, p.IV-VI
Main Author: Saal, Ilka
Format: Article
Language:English
Subjects:
20th century
Acquired immune deficiency syndrome
Aesthetics
AIDS
Brant, George
Cultural factors
Cultural heritage
Domestic violence
Essays
HIV
Hughes, Langston (1902-1967)
Human immunodeficiency virus
Racial discrimination
Social factors
Sociocultural factors
Theater
Theater studies
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Summary:In their discussion of the production and its socio-cultural context, Black and Fletcher draw discerning parallels between the "fervent years"4 of the early twentieth century and our present moment, which, as they write, is similarly marked by "the domination by big business of the nation's economic life, a widening gap between socio-economic classes and a chipping away of civil rights." [...]he argues that as Hughes and James inscribe their visions of freedom into the existing performative tradition of the "Haitian play," they effectively adapt and revise the conventions of European tragedy in order to probe the irreconcilable conflict between "race" and "nation" that ultimately determines Dessaline's and Louverture's revolutionary struggles. Founded in 1987, at the height of the HIV/AIDS crisis, the Coatlicue Theatre Company has effectively used performance for the past thirty years to draw attention to how the illness intersects with issues of domestic violence, sexual abuse, substance abuse, poverty, immigration rights, and other concerns disproportionately affecting Native communities in urban centers and on reservations.
ISSN:0082-3821