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A Review of The Amen Corner, 2021
Ijeoma N. Njaka

The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”

James Baldwin Review
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Beckett in black and whiteface
S. E. Gontarski

L. More Overbeck . Cambridge : Cambridge University Press . Billington , M. ( 2013 ). ‘ The Amen Corner – review ’, Guardian , 12 June, www.theguardian.com/stage/2013/jun/12/the-amen-corner (accessed 5 February 2021). Chan , P. (ed.) ( 2010 ). Waiting for Godot in New Orleans

in Beckett’s afterlives
Simon Schama

(which she attempted to shrug off), above all for the aspersion that Martin Luther King’s true realm was that of piety while LBJ’s was that of unlovely accomplishment. What she was not called out on – not by Obama or anyone else so far as I know – was the factual inaccuracy of that history. What made the Civil Rights Act possible in the fall of 1964 was the conversion – and it was indeed a quasi-religious experience – of a group of mid-western white Republican senators all from the Amen Corner of the Party like Bourke Hickenlooper18 of Iowa and the greatest public

in Religion and rights