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The one-act play companion : a guide to plays, playwrights and performance
This guide surveys the work of over 250 playwrights who specialise in one-act plays, covering multiple styles nationalities and periods. In addition, it offers guidance on performing and staging a one-act play, with contact information and how to apply for performance rights.
Book
Living with Lynching
Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890-1930 demonstrates that popular lynching plays were mechanisms through which African American communities survived actual and photographic mob violence. Often available in periodicals, lynching plays were read aloud or acted out by black church members, schoolchildren, and families. Koritha Mitchell shows that African Americans performed and read the scripts in community settings to certify to each other that lynching victims were not the isolated brutes that dominant discourses made them out to be. Instead, the play scripts often described victims as honorable heads of households being torn from model domestic units by white violence. _x000B__x000B_In closely analyzing the political and spiritual uses of black theatre during the Progressive Era, Mitchell demonstrates that audiences were shown affective ties in black families, a subject often erased in mainstream images of African Americans. Examining lynching plays as archival texts that embody and reflect broad networks of sociocultural activism and exchange in the lives of black Americans, Mitchell finds that audiences were rehearsing and improvising new ways of enduring in the face of widespread racial terrorism. Images of the black soldier, lawyer, mother, and wife helped readers assure each other that they were upstanding individuals who deserved the right to participate in national culture and politics. These powerful community coping efforts helped African Americans band together and withstand the nation's rejection of them as viable citizens. _x000B__x000B_The Left of Black interview with author Koritha Mitchell begins at 14:00._x000B__x000B__x000B__x000B_An interview with Koritha Mitchell at The Ohio Channel._x000B_
eBook
Adela in the Cave
A monodrama, ca. 12-15 minutes, for soprano, echo and small chamber orchestra, based on a scene in E. M. Forster's A Passage to India. A note on performance: at the composer's discretion, words of Echo (shown in upper case) may mingle freely with Adela's sung material. Instrumental prologue precedes entrance of Adela Quested Adela (to audience, spoken, pleasant and confidential at first but with increasing passion and angst): How's one to see the real India? (Arioso) The Marabar Hills, not to be missed, the guidebooks say, and so we came. No doubt his wife and children are also beautiful. The English in India, Insulting and bungling, with our silly topees and swagger sticks... (Short instrumental interlude, Adela moving towards entrance of the cave) So, I will have Ronny. A marriage like others... the club every evening, every evening the club. Echo (louder, repeated, more insistent): IS WHERE 15 SHE, IS ME, 15 THERE, ESMISS ESMOORE . . . Rape! (running blindly off stage).
Journal Article
La récréation des clowns
En pleine guerre d'Algérie, Alger à l'heure de la torture. Pour un gala organisé par l'armée, trois Paras, trois tortionnaires ont monté un spectacle où ils jouent des clowns. Déguisés, grimés, cocasses, ils sont sur scène à répéter une dernière fois avant le lever du rideau. Mais voici qu'un de leurs camarades leur amène un Algérien soupçonné d'avoir déposé une bombe dans un lieu public. Il faut à tout prix le faire parler. On monte sur scène « Gégène », la magnéto. Mais sous l'emprise du spectacle des clowns et des costumes qu'ils n'ont pas le temps de quitter, les professionnels de la torture n'arrivent plus à mener l'interrogatoire de la manière prévue.At the height of the Algerian War, French army units turn to torture in response to the new urban guerrilla tactics of the rebels in the capital, Algiers. But daily life goes on. For a gala evening of entertainment offered to civic leaders and the upper echelons of the French army, three soldiers, specialists in enhanced interrogation, have proposed a series of clown skits. The curtain rises on their dress rehearsal before the evening's performance. Suddenly, the rehearsal is interrupted. An Algerian has been arrested, suspected of having planted a bomb primed to explode later the same evening. With no time to leave the theater or even remove their clown costumes, he must be made to talk. But on stage, in those circumstances, the interrogation takes unfores
eBook