...James Hatch Copyright © by yale/theatre 1976 1976 Speak to Me in Those Old Words, You Know, Those La=LaWords, Those Tung-Tung Sounds (Some African Influences on the Afro American Theatre) James Hatch BZk Love Song #I by Kalmu Ya Salaam begins with a Black woman intoning...

...Fred Rue Jacobs Copyright © by yale/theatre 1970 1970 DON'T KNOW SIC'EM FROM SOOEY A Drama in One Scene by Fred Rue Jacobs (for Robert Graves) Cast see it now. . . the burning. . . it looks American...

...Stephen Haff "IT'S FUN TO HAVE YOUR HANDS FULL OF GREEN SLIME AND NOT KNOW WHAT IT IS." STEPHEN...

...John O'Neal; Ron Castine; Glenda Lindsay Copyright © THEATER 1992 1992 DON’T START ME TO TALKING OR I’LL TELL EVERYTHING I KNOW SAYINGS FROM THE LIFE AND WRITINGS OF JUNEBUG JABBO JONES by John O’Neal...

...Thomas F. DeFrantz © 2017 by Thomas F. DeFrantz 2017 American Realness, Abrons Arts Center, New York, 2016. Photo: Ian Douglas Thomas F. DeFrantz I Am Black (you have to be willing to not know) The discourse of race in contemporary performance falls apart when whites try...

... York : Routledge , 2018 Performance Documentation: The Context and Process of Digital Curating and Archiving , edited by Sant Toni , London : Bloomsbury Academic , 2017 © 2020 by Evan Hill 2020 Books Evan Hill Documentary Pragmatism; Or, How to Know How a Document Works...

... to curation relate to the “knowing-body.” Using artist Lygia Clark's Caminhando (Walking) to problematize the politics of desire, Rolnik explores how curation practices might liberate themselves from capitalist-colonial micropolitics, as well as how curators negotiate the safeguard of artistic practices...

... 1 Ya you know what I mean (loud) Ya YO you know what I’m talking about 1234 we might run into each other again...

...? lori I know what you’re saying. John has a How funny would that be? You’d be driving new car. 755? He’s serious about it. He really underwater sometimes. But I know how some...

... and crying. (So what? I cry all the time, too.) I dog lady think she’s smoking a joint. No one knows how sad she feels. one doctor, twice two strays, one a drifter, one a dog ©...

....) The —  And they were — ? But then —  Families? I know Romeo killed —  That were feuding? The best...

... and at her own studio in New York, interviews Mr. Meisner. 38 Shepherd: Why didyou become an actor? Meisner: I don’t know why I became an actor. When I was in 1 A the teacher asked everybody in the class what they wanted to be -doctors, dentists, firemen - I said 1...

... us. place You dealt out death We do not yet control In the city of Tikrit as in other cities As a last duty for freedom, To the enemies of freedom Knowing the bedrock...

...?! Now, tell me who an amusement theme park - Six Flags Over Poundstone or Aristophanes is. And I’m ashamed that I don’t know. PaulaWorld - where the various “lands“ abut each other without immediately discernable rhyme or reason. One Aristophanes was the big gag writer of Ancient...

... MEMPHIS: Don’t bring up that might take me a little while. Her Chops $2.50. Beans and mu.s 65$. woman to me. I ain’t heard from her. I wants might be too big for my pocket The lights come up and MEMPHIS, the know where she at. She up her but I work it out and come up...

... don't have skin. Dogs have fur. Dogs don't have skin. MARGARET: Of course dogs have skin. I had one once. That‘s how much you know. I can feel the skin under her hair. BERTHA: Humans have hair. Whatever you feel, it’s under her soft fur, not under her hair. MARGARET: I...

... You know, my parents raised me in an airport, and by the tiny silhouettes of tiny America that believed that strike-busting, the figures inside, diminutive shadows handling use of scab labor, and harsh, punitive...

... with arms out- tonight; I’ve got a score to settle with stretched for balance, stays poised that somebody out there tonight. I’ll know way) him when I see his face. Tina: Oh Carroll- (Leaps up to demonstrate...