Wilson is a bluesologist and we are blues people. Avotcja Jiltonilro explained to me once that the blues as we know it actually evolved from praise music not from the angst of the American experience as we have been taught. It is our song. Our ever overstanding of the beauty and majesty inherent in life and our heart’s determination to continue beating. Continue reading
Advertisements Every Wilson play I have directed is about Africans finding their song. The search for our lost song is a part of a conversation about movement literal and figurative both voluntary and involuntary. We have indeed lost our song and we … Continue reading
In the sorrowful funk and divine fury of the music there is a delicately etched study of humanity for us to consider if we want more than entertainment from our theater. Continue reading
There is no return from this baptism by Wilson. Nothing will ever be the same again. I have been caught by the piper. I follow the roar of the lion.
I thank the ancestors, my parents, my children, the spirits that walk with me for the gifts given. I remember. I am here. I am not done. I remain a willing vessel. I plan to run on until my day is done and when I get to my maker may she say, ‘Well done.” Continue reading
Advertisements Bullets are usually made of lead. If you cover a lead bullet with copper you get a Full Metal Jacket; an armor piercing projectile. It is our intention to wound you with art. You will leave feeling something. You will be moved … Continue reading
Advertisements Since I last wrote about Mr. Wilson, and his contribution to my foundation, some time has passed. Of course a great deal has happened. I have read the entire Pittsburgh Cycle and have dedicated myself to the production of … Continue reading
“If you do not know, I will tell you that black theatre in America is alive … it is vibrant … it is vital … it just isn’t funded. Black theatre doesn’t share in the economics that would allow it to support its artists and supply them with meaningful avenues to develop their talent and broadcast and disseminate ideas crucial to its growth. The economics are reserved as privilege to the overwhelming abundance of institutions that preserve, promote and perpetuate white culture.
That is not a complaint. That is an advertisement. Since the funding sources, both public and private, do not publicly carry avowed missions of exclusion and segregated support, this is obviously either a glaring case of oversight, or we the proponents of black theatre have not made our presence or needs known.” August Wilson Continue reading
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