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Contributions in Afro-American and African Studies: Contemporary Black Poets Ser.: Langston Hughes Vol. 181 : Folk Dramatist in the Protest Tradition, 1921-1943 by Joseph McLaren (1997, Hardcover)
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About this product
Product Identifiers
PublisherBloomsbury Publishing USA
ISBN-100313287198
ISBN-139780313287190
eBay Product ID (ePID)138959
Product Key Features
Number of Pages248 Pages
Publication NameLangston Hughes Vol. 181 : Folk Dramatist in the Protest Tradition, 1921-1943
LanguageEnglish
Publication Year1997
SubjectAmerican / African American, Drama, Fairy Tales, Folk Tales, Legends & Mythology, General, Ethnic Studies / African American Studies
TypeTextbook
Subject AreaLiterary Criticism, Social Science
AuthorJoseph Mclaren
SeriesContributions in Afro-American and African Studies: Contemporary Black Poets Ser.
FormatHardcover
Dimensions
Item Height0.7 in
Item Weight18.9 Oz
Item Length9 in
Item Width6 in
Additional Product Features
Intended AudienceCollege Audience
LCCN95-048416
Dewey Edition20
Series Volume NumberVol. 181
Number of Volumes1 vol.
IllustratedYes
Dewey Decimal812/.52
Table Of ContentForeword by Beth Turner Introduction Folk Comedy in Collaboration: The Mule Bone Affair Radical Drama and the Black Community The Tragic Mode: Mulatto The Gilpin Players and the Karamu Comedies The Karamu Tragedies The Harlem Suitcase Theatre Community Theatre, Black Iconography, and World War II Conclusion Afterword by James V. Hatch Bibliography Index
SynopsisThough known primarily as a poet, Langston Hughes crafted well over 40 theatrical works. This book examines Hughes's stage pieces from his first published play, The Gold Piece (1921), through his post-radical wartime effort, For This We Fight (1943). Hughes's stage writing of this period includes such forms as the folk comedy, the protest drama, the historical play and the blues opera. McLaren concludes that the democratic argument is ultimately employed by Hughes to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. Photographs complement the text. McLaren demonstrates that Hughes's folk comedies, such as Mule Bone (1930) and Little Ham (1936), valorize folk humor and black vernacular. Written in collaboration with Zora Neale Hurston, Mule Bone resulted in a literary controversy. The study also analyzes Hughes's radical plays, including Scottsboro Limited (1931) and Don't You Want to Be Free? (1938), which blend poetry and drama. Also addressed is Hughes's association with community drama groups, especially Karamu Theatre in Cleveland and the Harlem Suitcase Theatre, which premiered Don't You Want to Be Free? and a number of Hughes's satires. In the early 1940s, Hughes entered his post-radical period but continued to protest fascism and celebrate black heroes and heroines. This transition is reflected in his critique of Richard Wright's Native Son . McLaren concludes that the democratic argument is used to challenge segregation in the military and that Hughes's iconography prefigures the black aesthetic of the 1960s. This book will be of great interest to students and scholars of radical theatre and African American drama. Photographs complement the text.
LC Classification NumberPS3515
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