Suggested Topics for Paper #2

The African Company Presents Richard III

Drumming and Theatre as Forms of Community and Resistance in Early African-American New York

Price and Brown: Advancing Two Forms of American Theatre and American Identity

Collisions and Collectivity in the Struggles of The African Company

Suppression and Resistance in The African Company Presents Richard III

Acting Roles and Creating Identities in The African Company Presents Richard III

Griots, Playwrights, Historians, and Translators: Papa Shakespeare, William Shakespeare, and Carlyle Brown

Culture Wars: Whose Voices Shall Speak and What Language Shall We Hear?

Naming and Mocking: What Using the Name "Shakespeare" Means

Performances and Metaperformances in The African Company Presents Richard III

Displacement, Immigration, and Identity in African-American New York: Struggles within The African Company

Staging Mrs. Van Damme in Oberlin's Production: Complicating Issues of Race with Factors of Gender and Class

Performance Choices in Caroline Jackson-Smith's Show: Telling History on Stage

Hewlett's Roles: A Study in Forming an African-American Identity

Sarah and Ann's Struggles for Identity: Sexuality and Dignity for Early African-American Women

The Significance of Names in The African Company Presents Richard III

Why Sex and Love May Seem So Dangerous to Ann and Jimmy in The African Company Presents Richard III

Interpreting the Ending of The African Company Presents Richard III

The House of Yes

Who says No in the House of Yes

Connections between Incest, Indulgence, and Insularity in the House of Yes

American Myths and Dysfunction in The House of Yes

Puzzles in the House of Yes: Anthony's role, where's Dad, and what does Marty know?

Knowledge and Suppression in The House of Yes

Substance and Drug Abuse in The House of Yes

Performance and Reality in The House of Yes

Grotesque Humor and Social Critique in The House of Yes

Fast-talking and Wit in The House of Yes

"Talk me Back": Fantasy, Memory, and Identity in The House of Yes

Class and Prejudice in The House of Yes

Comparing the Movie, the Script, and the Show: Versions of The House of Yes

The House of Yes and American Fantasies: American Camelot, Having it All, Sundays in New York, Getting Away from it All

True West

Imagining The West in True West

Implications of the title True West

Lee and Austin: Two Aspects of Sam Shepherd

Lee and Austin: the Duality of Discipline and Dissipation

The Unseen Father in True West

The Function of The Mother in True West

Saul Kimmer: Mephistopheles on the Ninth Hole

Eternal Myths in True West

The Tension of Myth and Realism in True West

Lee and Austin's Reversals

City and/as Desert in True West

Obligatory Stage Directions in True West

A Hoop Series Production of True West: Limits and Triumphs

The Significance of The Kitchen in True West

Austin's Confinement in True West

Chase and Stasis in True West

Love Stories and Real Westerns: Where are They in True West?

Reliable stories and What We Can Rely on in True West

True West and Ideas of Location as Identity

Sexism and Male Bonding in True West

Comparison Topics

Indulgent Mothers in Two Plays

Missing Fathers in Two Plays

Sibling Narcissism and Dysfunction in Two Plays

Alchohol in Two American Families: The House of Yes and True West

Fratricidal Themes and Confused Identities in Two Plays

Using Performance for Freedom, Indulgence, Suppression, or Liberation: Meta-Performances in Richard III, The African Company Presents, The House of Yes, and True West

Class, Power, and Who Gets to Write or Perform in The African Company Presents Richard III and True West

The Strange Absence of Race in L.A. and Virginia: Exploring Incomplete American Identity in Two Plays

Price and Kimmer: Two American Producers and their Power

The Power of Interrupting Discrimination and the Psychosis of Indulging Desire in the Theatrical Worlds of Brown, Macleod, and Shepherd

Frozen Tableaus at the End of The House of Yes and True West

Family Dramas and the Apparent Absence of Family in Three Contemporary American Plays

Talking with Performers and Directors in Class: What Is and Isn't Said

Bringing Two Scripts to Life in the Little Theatre: Differences and Similarities

The Little Theatre and the Main Stage of Hall Auditorium: Performing in Two Sites and Making Two Statements

The Dysfunction of the Family in True West and The House of Yes and the Dystunction of Racism in The African Company Presents