African American Theater: Female Playwright

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African American Theater: Female Playwrights The poet Paul Laurence Dunbar wrote about African American life in 1896, and he said, “African-American life as essentially theatrical because black people are forced to play roles. Because of slavery and its social and psychological legacies, we can’t voice our true feelings in public therefore we aren’t free to show our inner reality to the world.” This quote identifies the main thread of African American theater that runs through the early 19th century until present day. My interest with African American theater lies mainly in the past, because I believe if you don’t know where you came from then ignorance will blind you from the future. Women playwrights played an important role in developing…show more content…
Her father was a social worker and executive secretary of the YMCA and her mother was a teacher. When she was young her parents would read to her the works of the great black writers. She grew up in Cleveland and attended Ohio State University where she experienced her first taste of racial strife, but still received a bachelor's degree in education in 1953. She began writing novels, short stories, and poems while still in college and a month after graduation she was married. The family moved to New York City so Kennedy could attend graduate school at Columbia University. That is where she developed her literary talents by attended creative writing, but after seven years she still remained unpublished and unproduced even though she completed her M.A. She travelled with her husband, by then a professor at Hunter College, to Europe and Africa in 1960 and in Ghana she submitted a short story to the magazine Black Orpheus which was accepted and published. At the age of 29 she wrote Funnyhouse of a Negro (1962) and it was selected by Edward Albee to be produced in his workshop at Circle in the Square. This play is about a young black woman who is so lost in the myths of the black and white race that she feels vulnerable and without any identity. She cites Tennessee Williams and Edward Albee and her time at the Circle in the Square theatre as major influences of her work. In 1962 she joined Edward Albee's Playwrights' Workshop beginning over a thirty year career in theatre which continues to this day. Kennedy has been a lecturer at Yale and the University of California at Berkeley, and has taught playwrighting at Princeton and Brown. She has received Guggenheim Fellowships, NEA, Rockefeller Foundation Grants, and in 1992, the mayor of Cleveland declared March 7 to be Adrienne Kennedy

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