Donald M Morales
Biographic Data
| ID | 969252 |
|---|---|
| NAME | Donald M Morales |
| GIVEN NAMES | Donald M |
| FAMILY NAME | Morales |
| SIGNATURE | MORALES D M |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2003 |
| H-INDEX | 0 |
The Pervasive Force of Music in African, Caribbean, and African American Drama
Tejumola Olaniyan, in his study of African, African American, and Caribbean drama, Scars of Conquest/Masks of Resistance, references Nietzsche's pronouncement in analyzing the death dance in Wole Soyinka's Death and the King's Horseman. Olaniyan, who calls Soyinka's play "the most powerful evocations in contemporary African drama of a classical African ritualistic sense of space" (52), reminds us of Soyinka's exhortation that the play Death and t…
Paul Robeson
Do Black Theatre Institutions Translate into Great Drama
Helen Taylor, in reviewing Classic Plays from Negro Ensemble Company, an anthology of ten NEC plays edited by Paul Carter Harrison and Gus Edwards,(1) observed that African American playwrights have not been so central to American as have black poets, novelists, and essayists. This argues against Harrison and Edwards's afterword, in which they contend that NEC productions over twenty-five years have generated formidable African American theater l…
No prominent works on this page.
Do Black Theatre Institutions Translate into Great Drama
Helen Taylor, in reviewing Classic Plays from Negro Ensemble Company, an anthology of ten NEC plays edited by Paul Carter Harrison and Gus Edwards,(1) observed that African American playwrights have not been so central to American as have black poets, novelists, and essayists. This argues against Harrison and Edwards's afterword, in which they contend that NEC productions over twenty-five years have generated formidable African American theater l…
Paul Robeson
The Pervasive Force of Music in African, Caribbean, and African American Drama
Tejumola Olaniyan, in his study of African, African American, and Caribbean drama, Scars of Conquest/Masks of Resistance, references Nietzsche's pronouncement in analyzing the death dance in Wole Soyinka's Death and the King's Horseman. Olaniyan, who calls Soyinka's play "the most powerful evocations in contemporary African drama of a classical African ritualistic sense of space" (52), reminds us of Soyinka's exhortation that the play Death and t…
History (3 works) · Art (2 works) · Drama (2 works) · Literature (2 works) · Caribbean history, culture, and politics (1 work) · Critical and Liberation Pedagogy (1 work) · Dance (1 work) · Educational Leadership and Practices (1 work) · Ego Development and Educational Practices (1 work) · Evocation (1 work)