Talawa Theatre Company

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