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Talawa Theatre Company

A Theatrical History and the Brewster Era

David Vivian Johnson (Independent scholar, UK)

$61.99

Paperback

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English
Methuen Drama
28 July 2022
This book discusses the theatrical history of Talawa, the work of Dr Yvonne Brewster OBE, her contribution to the genre of contemporary black British theatre generally, and her founding and subsequent directing of Talawa from 1986 to 2001. The analysis details how Brewster's theatre helped forge a black British identity in Britain, both on and off the British stage, through its strategic presentation of black language and culture in performance.

Following explanations of definitions and sociolinguistic methodology in Chapter One: Voicing an Identity, Talawa's theatrical roots are shown in Chapter Two: Post Traumatic Slavery Disorder, to have begun in Africa, developed in Jamaica and further progressed by British Caribbean post war artists in Britain. In Chapter Three: A Stanger in Non-Paradise, Brewster's early life, her significant contribution to contemporary black British theatre, her founding of Talawa and the company's three year residency in the West End are discussed.

Talawa's work is then explored by genre as follows; Chapter Four: The Island Plays highlights Talawa's Caribbean productions. These are; An Echo In The Bone, Maskarade, The Black Jacobins, The Dragon Can't Dance, The Lion and Beef No Chicken. In Chapter Five: The Black South, Talawa's American productions; The Love Space Demands, From The Mississippi Delta

and Flyin' West point to the relevance of African American work to Talawa's audience. Chapter Six: Stay in Your Box illustrates Brewster's ground breaking work in the British classical genre. The productions discussed are; Anthony and Cleopatra, King Lear, Tis Pity She's a Whore, The Importance of Being Earnest and Othello.

The book ends with Chapter Seven: Don't Tell Massa. Brewster and her work at Talawa are summed up, followed by an insight into her final attempt to secure a permanent home for black theatre in Britain.

By:  
Imprint:   Methuen Drama
Country of Publication:   United Kingdom
Dimensions:   Height: 216mm,  Width: 138mm, 
ISBN:   9781350187481
ISBN 10:   1350187488
Pages:   272
Publication Date:  
Audience:   College/higher education ,  Primary
Format:   Paperback
Publisher's Status:   Active
PREFACE ACKNOWLEDGEMENTS CHAPTER ONE: VOICING AN IDENTITY Defining Black in Britain Defining Voice The Sociology of Language Language Style as Audience Design and Related Theories The Burden of Representation CHAPTER TWO: POST TRAUMATIC SLAVERY DISORDER Ritual: A Survival Technique Storytelling Jamaican Theatre 1700s –1980s Louise Bennett's Lineage and Legacy Lest We Forget: Black British Theatre and The Post War Pioneers By Happenstance: EARL CAMERON b. 1917 A Black Trap: CY GRANT 1919 - 2010 Bottom Of The Pile: BARRY RECKORD 1926 - 2011 Unequal Opportunities: PEARL CONNOR 1924 - 2005 CHAPTER THREE: A STRANGER IN NON-PARADISE Brewster's Beginnings The Barn The Making of Contemporary Black British Theatre: Brewster's Role Dark and Light Theatre of Black Women Carib Theatre Black Theatre Cooperative Black Theatre Forum Talawa When The Time Is Right: Talawa’s Residency at The Cochrane CHAPTER FOUR: THE ISLAND PLAYS Contextualizing Talawa's Caribbean Genre with An Echo In The Bone and Maskarade The Black Jacobins: The Motivation To Revolt Oral Language of Performance: We Speak Black Non-Spoken Performance Vocabulary: Colonialism and Voodoo The Dragon Can’t Dance A Chosen Ethnicity Oral Language of Performance: It Ain't Reach Yet Non-Spoken Performance Vocabulary: All A We Is One: Music, Calypso and Carnival The Lion Oral Language of Performance: Speaky Spokey Notions of Black Identity: Black..ish Brit...ish Beef no ChickeN Brewster: Directing Language CHAPTER FIVE: THE BLACK SOUTH Refusing Exclusion From The American Genre The Love Space Demands Piecing it Together: The Structure of the Work Oral Language of Performance: Speaking From Her Heart Non- Spoken Performance Vocabulary: The Psyche and Dancing the Dialogue From the Mississippi Delta Oral Language of Performance: Delta Voices A cappella Actresses: The Performances Flyin’ West We Need Heritage Facts: Research Package and The Company's Response To It My Eye Witness Account CHAPTER SIX: STAY IN YOUR BOX The British Classical Genre: No Voice For Blacks Antony and Cleopatra King Lear Tis Pity She's Whore The Importance of Being Earnest A Critical Reception Contemporary Black Victorians White Words Black Mouths O TO HELL GO Othello Audience Response Production Reviews The Language of The Text Versus The Colour of The Performers: Even Casio is Black Playing Othello: The Actors’ Perspective CHAPTER SEVEN: DON'T TELL MASSA The Contribution to Black British Theatre and Identity The End BIBLIOGRAPHY

David Vivian Johnson is a Londoner of Jamaican heritage. He is a multilingual creative and works in English, French, Portuguese and Spanish. In addition to writing, he is an experienced translator, theatre director and musician.

Reviews for Talawa Theatre Company: A Theatrical History and the Brewster Era

If you want to understand the contribution of black people to contemporary British theatre and culture, and why it's important for all peoples to join together to champion equity and inclusivity in our society today, then this book is a must-read. David Johnson offers a definitive account of the transformation of mainstream British theatre from the perspective of the country's foremost black-led theatre company; Talawa Theatre Company. Johnson's account of the rise and rise of Talawa Theatre Company is compelling in its authenticity. I am endorsing this book because there isn't another on the market that captures the audacious and tenacious spirit that Talawa represents for British theatre and for black people in Britain - or dare I say, all around the world. --Kene Igweonu, President, African Theatre Association Johnson's book provides a detailed history and in-depth discussion of one of the UK's most important black-led theatre companies and its artistic director and founder, Yvonne Brewster. Situating Talawa's theatrical contribution in its cultural context and in relation to the pioneering work of black theatre artists who came before, Johnson offers a linguistic analysis of several key productions giving valuable insight into the achievements of this remarkable black British theatre company under Brewster's leadership. --Michael Pearce, University of Exeter, UK Creating a stage in Britain for black actors was the long-term ambition of Yvonne Brewster and this study is testament to her remarkable achievements in founding and steadily developing Talawa. Through her, black identity became a presence in British theatre and numerous black practitioners gained authority and status. David Johnson's volume is a first-rate account of this major initiative in Black British Theatre, written with exacting scholarship and passionate conviction. --Richard Cave, Royal Holloway, University of London, UK A meticulously researched study of Talawa Theatre Company under its first artistic director, Yvonne Brewster, this book offers a definitive account of one of the most innovative and influential cultural phenomena in modern Britain, which transformed the performing arts by offering new opportunities to a whole generation of Black British actors, directors and theatre personnel, and creating new audiences for their work. David Johnson has made a major contribution to our cultural history. --John T. Gilmore, University of Warwick, UK


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