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Negro little theatre movement12/17/2023 ![]() ![]() Leticia: I think what makes this such a critical and important topic for us to just discuss on the podcast and offer some insight and really trace this philosophical theoretical history of what Black theatre is and can do is that it shows the long legacy of the utility of Black theatre within the push for Black life, Black freedom, but more so I think it just shows that some of the most critical theorists of our time was always engaged and interested in what Black theatre had to say. We both were really excited about delving back into these essays that really talk about this history. So, we were just talking about, as we usually do, doing syllabus exchanges and really trying to home in on what we wanted to cover this semester. Jordan: I’m covering contemporary Black theatre. Leticia is covering African American theatre history, I believe. It’s also very apropos because both of us are teaching classes in Black theatre this semester. So, for those of you who’ve been listening with us for the past three seasons, this might seem a backwards step, but Leticia and I have both been thinking a lot lately about revisiting some of these essays of criticism that really discuss the principles, philosophies, dramaturgy of Black theatre, and thought it would be a really great thing for us to talk about on this episode. Jordan: So as we covered in the introduction, this episode is all about thinking about this concept of Black theatre. So, Jordan, we are back with episode one of season four. It’s like grad school all over again, but not quite as close. Daughters of Lorraine, we’re on the global map and also so happy that we’re only two hours apart. Jordan: Yeah, we goin’ international! Okay. So, really excited to be here, excited to see what Canadian theatre offers, and perhaps helps us expand Daughters of Lorraine a bit to think about how Black theatre internationally appears. Then I do graduate studies work at the downtown campus. So, I have moved to Canada, and I am now an assistant professor at the University of Toronto Mississauga, which is one of their satellite campuses. I have crossed some waters to now be in Toronto, Canada. Ridley, I think you also have a little update for those listening at home about your whereabouts these days, too. So, I now live in Rochester, New York, and I’m really excited about that. But yes, I did complete my PhD at the University of Maryland, and I have now begun a new position as an assistant professor in the Department of Black Studies at the University of Rochester. Since I don’t have a lot of social media and stuff anymore, I haven’t really been able to make a public announcement. Leticia: Where are you now, Jordan, or should I refer to you as Dr. For those of you who’ve been wondering where we’ve been, we have had a lot of change in the past year. Who knew that we would get to season four, Leticia? I’m so excited to be starting our fourth season. Jordan: It has been an absolute too long of a time. How are you feeling, Jordan? It’s been a minute. Welcome back to Daughters of Lorraine! We are finally back with season four. Leticia: In the spirit of DuBois’ pathbreaking revelation, today’s episode is focused on one major question: What is Black theatre? Following DuBois, we examine various theorists, artists, and critics’ own philosophies and principles of Black theatre and performance, cover the historical and ongoing debates on Black theatre’s mission, and put forth our own concept of what makes something Black theatre. This statement by DuBois so resonates even in contemporary settings as Black theatre artists and scholars continue to consider and reconsider what makes something Black theatre. ![]() DuBois drafted the theatre’s mission to center Black people through being about us, by us, for us, and near us. ![]() As part of the Krigwa Players’ mission, founder W. Featuring plays by prominent playwrights Willis Richardson and Ruth Gaines-Shelton, the theatre company was a critical and commercial success. In 1926, the Krigwa Players had their first season at the 135th Street Bridge of the New York Public Library. On this podcast produced for HowlRound Theatre Commons, a free and open platform for theatremakers worldwide, we discuss Black theatre history conduct interviews with local and national Black theatre artists, scholars, and practitioners and discuss plays by Black playwrights that have our minds buzzing. Leticia Ridley: Welcome to Daughters of Lorraine, a podcast from your friendly neighborhood Black feminists, exploring the legacies, present, and futures of Black theatre. ![]()
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