The Influence Of Casting In A Doll's House

August Wilson’s 1996 address entitled “The Ground on Which I Stand”, sparked a vigorous debate in the world of theater over the idea of “colorblind casting” and he presented the need for a Black Theatre. Mr. Wilson was outraged by the fact that of the 66 major companies belonging to the League of Resident Theaters, only one was black. He felt that the supporters of black theatre used their funds to increase black hiring in primarily white theatres as opposed to creating a theatre for the black community. Hw wanted to have more black theaters established to cater to the black actors as well as draw in black audiences. He attacks the increasingly popular trend of “colorblind casting” which basically meant casting black actors in roles traditionally

Theatre has evolved over the many years. As it has grown, it moved to include more diverse performers, crew, producers, and audiences. This is an exploration of the expansion of diverse theatre.

The article is about black creative production (theater) since the play is directed by African American playwright Richard Wesley. In addition, the predominantly black casts are spectacular and deliver a strong performance. The ability to be multi-skilled in your craft displays creativity and versatility where the actors can utilize their many talents.

roles would be lost to Caucasian actors so as to resonate with American audiences. It is

Lyra D. Monteiro criticizes Lin-Manuel Miranda for not addressing the problems such as slavery and the exclusion of the introduction of colored people in history. The color-bling casting that is presented throughout the play has caused people to notice the way certain roles were given and casted. An example of this is the “racialized musical forms that

Three sources analyze the racial conflicts of white actors playing colored parts, and all agreed that it was not a trivial situation, for audiences, or actors. Racial tensions are very popular with the media. While there is some minor tension today, the movies and plays of Othello top the charts for most racial conflicts. First, The article, “Othello: the role that entices and engages actors of all skin colours,” by Andrew Dickson shows the history of the actors that played Othello, and when the actors were black, they were either not cast, due to segregationists, or were criticized in their performance for the same reason. Also, this article uses diction to convey the seriousness of white vs. minority crisis. Next, the video, “SHAKESPEARE UNCOVERED White Actors Playing Othello” by PBS, shows the performances of many Othello actors that were white. Additionally, the video shows one white actor who used makeup to make himself more than than black. The video uses hyperbole to describe the absurdity of Othello movies. For example, Laurence Olivier, the 1964 Othello was black-top showing how far film industries will go to cover-up racial tensions, and the narrator describes the makeup as ridiculous,and dramatic. Finally, the last article, “Aladdin: putting a white character in Disney’s live-action remake is offensive,” by Hannah Flint displays that film industries feel obligated to please a white audience, keeping the minorities second fiddle by adding characters white people

As the years passed, black performers continued to gain ground. In the 1940s, Broadway productions of Cabin in the Sky, Carmen Jones, and St. Louis Woman enabled African Americans to demonstrate a fuller range of talents, and Paul Robeson reached national prominence in his awarding-winning portrayal of Othello. By the 1950s and ’60s, more black actors―including Ruby Dee, Ossie Davis, and Sidney Poitier―had found their voices on stage, and black playwrights and directors had begun to make their marks.

actually address the historical legacy of slavery, Lin Manuel Miranda’s casting brought light to the misrepresentation of non-whites in media and history. Throughout history, minority races, specifically African-Americans and Hispanics, are often whitewashed into stereotypical themes; thug life, segregation, or the “bad guy”.

. This play takes place in 1963, the year in which the Civil Rights movement was being fought for. The main topic of this play is to understand how race and stereotype can affect justice being served, and the only way around this would be to view facts and override race and stereotype with evidence.

Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were

What is whitewashing? “Whitewashing is the practice of Caucasian actors being cast as characters who were written or originally played by an ethnic minority person”. From the roots of film there has always been a tendency to galvanize white actors for roles regardless on whether the role which they are galvanized for is fitting, properly portrayed, or even respectable. The reason? Directors often believe that by putting caucasian actors as the headliners for their movies, they will earn more money in revenue– as in Othello, A Mighty Heart, and Prince of Persia.

Throughout the years the play Othello by William Shakespeare has been adapted both on the screen and on stage many times. The questions or race and racism that have quite often been a point of discussion with William Shakespeare’s play Othello can be seen through the bard, however some may argue that Othello’s skin colour was purely a plot device. This paper will look at two film that have been re-made since the 1960’s, which provides an analysis of the concept of race and how political ideas and events of that time have influenced each adaptation. It will be seen that the film version of Othello directed by Oliver Parker in 1995 compared to the film version directed by Geoff Sax in 2001 present’s race with differing degrees.

noticed and regarded in a musical. Therefore, we see how the race was not significant when judging the overall performance of the play, but the way the performers act in the musicals is what conveys meaning, where they are able to blend in with their new identity and appearance performing on stage.

The exclusion of multi-racial performers in musicals is a problem, we certainly have come a long way from minstrelsy but you can say there is still progress to make. When I was speaking to Jeanine Tesori, renowned American composer and music arranger the first thing she said was “there is a difference between color blind casting and color conscious casting.” There's a very fine line between the two which is often confused. Color blind casting is casting a role regardless of race and color conscious casting is acknowledging a race and cast anyway. Jeanine Tesori used an example regarding shakespeare, she said when you cast a black actor in a part in shakespeare “do you have to say this part should be played by an african american? It doesn’t

By casting more diverse actors, the American entertainment industry is able to increase viewership in both television and film. To begin with, diverse casting allows for higher television show ratings. For example,