Reception of African American theatre in the USSRPart of : Γράμμα : περιοδικό θεωρίας και κριτικής ; Vol.2, No.1, 1994, pages 186-198
Various aspects of the origin, evolution and present condition of African-American theatre and drama have long been within the range of attention of literary scholars in the former Soviet Union. In the 1920s and 1930s the Soviet critics' interest in Black culture was fostered by its pronounced social undertones. The revival of this interest in the late 1950s coincided with the new and exceptionally productive stage in the evolution of Black theatre in the USA which was immediately connected with the important role which theatre and drama played in the Black revolution. In the 1960s and 1970s Soviet scholars addressed, first and foremost, the problem of correlation and balance between art and ideology, examining the ways the Black protest movement was reflected in works by African American dramatists. The focus in current studies in Black theatre is eventually shifting from politics to the arts, as researchers tend today to concentrate on such issues as the folk roots of African-American theatre, its diverse uses of popular traditions, its African and European influences and its dramatic techniques, both verbal and non-verbal.
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