The Works of Robbie McCauley


Add to cart
Essay #: 058542
Total text length is 5,092 characters (approximately 3.5 pages).

Excerpts from the Paper

The beginning:
The Works of Robbie McCauley
Since Lorraine
opened the door for African-American women’s voices to be heard in the American theatre, a number of performance artists have emerged, including, of course,
Goldberg, Anna
Smith and Robbie McCauley. Ms. McCauley states that her target and her own identity is couched in working class African-Americans: “In the early 1980s, impressed by the power of theatre to change minds, I took the bold step of following my individual impulse and creating a character of myself, the actor driven to speak politically about the black working class” (McCauley 581).
There is no doubt that certain actor-writers, like McCauley and Smith and perhaps Toni Morrison and Suzanne-Lori Parks are not...
The end:
..... the future. Her own writings and interviews will provide the optimum insight for further study about “black theatre’ and gender.
Works Cited
Griffiths, Jennifer: “Between Women: Trauma, Witnessing,
and the Legacy of Interracial Rape in Robbie McCauley's
Sally's Rape” Booulder CO: Frontiers 2005. Vol. 26, Iss. 3
McCauley, Robbie: “A Forum on Black Theatre: The Questions:
What Is a Black Play? and/or What Is Playing Black?”
Washington DC: Theatre Journal Dec 2005. 57.4
Nyman, Ann E.: “Sally's Rape: Robbie McCauley's survival art”
St. Louis MO: African American Review, Winter 1999.
Paget-Clark, Nic: “An interview with performance artist
and teacher Robbie McCauley” accessed March 21, 2010 on