STAGING BLACK WOMEN’S HISTORIES: RECOVERY AND RECUPERATION IN THE THEATRE OF GLENDA DICKERSON

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dc.contributor.advisorChatard Carpenter, Faedraen_US
dc.contributor.authorLong, Khalid Yayaen_US
dc.contributor.departmentTheatreen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2018-09-12T05:45:21Z
dc.date.available2018-09-12T05:45:21Z
dc.date.issued2018en_US
dc.description.abstractThis dissertation is a critical study of artisan and pedagogue Glenda Dickerson (1945-2012). Glenda Dickerson, whose career spans a little over forty years, held many roles within the field of American/Black/Feminist theatre: playwright, director, folklorist, performer, choreographer, adapter/conceiver, and educator. Dickerson was the second African American woman to direct on Broadway with the 1980 production, Reggae, a Musical Revelation. After a successful run in commercial theatre, Glenda Dickerson chose to place her efforts in developing works more intended for academic and community-oriented theatre. Dickerson’s career in theatre was quite distinctive. Despite the ways in which Glenda Dickerson challenged racial and gendered boundaries within both professional and academic theatre, and with her pioneering of contemporary Black theatre as well as a Black feminist theatre, Dickerson’s legacy is still largely unknown, and, most strikingly, severely under-documented within the scholarly histories of theatre and performance. Accordingly, this dissertation provides a genealogy of Dickerson’s career, highlighting some of the historical and socio-cultural influences that shaped her life and work in the theatre. Additionally, this dissertation critically examines several of her unpublished, contemporary dramatic works: Kitchen Prayers: Performance Dialogue on 9/11 and Global Loss (2001), Identities on Trial: A Kitchen Protest Prayer (2003), Sapphire’s New Show: The Kitchen Table Summit (2004), and Barbara Jordan, Texas Treasure (2005). By highlighting major themes found within these works and providing both a historical and theoretical study of her writing, devising, and staged performances, this dissertation aims to situate Dickerson as a forerunner of contemporary Black theatre as well as contemporary Black feminist theatreen_US
dc.identifierhttps://doi.org/10.13016/M2319S60J
dc.identifier.urihttp://hdl.handle.net/1903/21253
dc.language.isoenen_US
dc.subject.pqcontrolledTheater historyen_US
dc.subject.pqcontrolledTheateren_US
dc.subject.pqcontrolledPerforming artsen_US
dc.subject.pquncontrolledAfrican American Theatreen_US
dc.subject.pquncontrolledBlack Feminismen_US
dc.subject.pquncontrolledDramaen_US
dc.subject.pquncontrolledPost 9/11 Theatreen_US
dc.subject.pquncontrolledTheatreen_US
dc.subject.pquncontrolledTransnational Feminismen_US
dc.titleSTAGING BLACK WOMEN’S HISTORIES: RECOVERY AND RECUPERATION IN THE THEATRE OF GLENDA DICKERSONen_US
dc.typeDissertationen_US

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