By Philip C. Kolin

The 1st African American girl to win the Pulitzer Prize for drama, Suzan-Lori Parks has obtained foreign acceptance for her provocative and influential works. Her performs seize the nightmares of African american citizens endangered by way of a white institution decided to erase their historical past and eliminate their goals. A dozen essays handle Parks's performs, screenplays and novel. also, this ebook contains unique interviews (one with Parks and one other together with her long-time director Liz Diamond) and a creation chronology of her performs.

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Extra resources for Suzan-Lori Parks: Essays on the Plays and Other Works

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Mount Holyoke College, South Hadley, Massachusetts. March 4, 2007. edu. _____. 4 (2005): 576–583. _____. “Possession,” in The America Play and Other Works. New York: Theatre Communications Group, 1995: 3–5. _____. The Red Letter Plays. New York: Theatre Communications Group, 2001. _____. 365 Days/365 Plays. New York: Theatre Communications Group, 2006. Topdog/Underdog. New York: Theatre Communications Group, 1999 _____. 2 (1999): 26–33. _____. Venus. New York: Theatre Communications Group, 1990.

Then you wake up the next day. I panicked. [Laughter. Recognition. ” And I felt then I had a place to stand. I woke up every morning tickling the balls of God. What’s the play? You tell the bouncer of your mind to take off for a year. And then a few months in ... the plays kept coming [Lecture Mount Holyoke]. It’s that bouncer Parks needs to get rid of, that voice that says, “No, you can’t write that. ” She’s going to play around — tickling the balls of God — 24 SUZAN-LORI PARKS howsoever she pleases, and she tickles us as she tickles God in doing so.

And “Mothers” and “Kids” are mutating and expanding to include all of us, filling the stage, the theater, and the world, as the action continues and repeats forever. Even during peacetime [163]. She was interested, in 365, in stretching herself, as she took on stretching the boundaries of the stage and the conventions of drama. What Parks says about 365 is that it “is experimental theatre. Aristotle’s Poetics don’t apply. There is no fifth act like Shakespeare; no third act; it’s more about process.

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