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left the family in debt, and that Silas has been furloughed for a couple of days. With the family already being extremely poor, and men coming to gather the debt any minute, Liza suspects that Silas will need to put Aunt Nancy out of the house, because she does not pay rent. Silas enters the home and explains how he suspects Aunt Nancy secretly has a fortune that she keeps buried in the backyard. He wants to either ask her for the money or kick her out. Aunt Nancy re-enters and confesses that she is keeping money in the backyard to save for her son, who got out of jail that day and will be appearing at the house any minute. Jim enters and gives Silas fifteen dollars. He then proceeds to give half the money Aunt Nancy has saved for him to Silas. Silas repays his debts, and Aunt Nancy and Jim exit.
159:, stating "Negro drama has been, next to my wife and children”, the very hope of my life. I shall do all within my power to advance it.” During these formative years of black drama, Richardson exerted his energies towards promoting and perfecting his craft. He was posthumously honored as "Outstanding Pioneer" in black Theatre by
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In this essay, "The Hope of A Negro Drama”, Richardson stresses "that the plays written by
African Americans should focus on the black community and not on racial tension and differences". He goes on to state that most of his plays would be "drawn for the most part from folk tradition, they should
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The play opens with Liza not feeling well and being taken care of by Aunt Nancy. Emma enters and is chastised by Liza for wearing makeup. Both Emma and Liza agree that Aunt Nancy has been a very helpful presence in the home, especially for Liza’s health. Liza explains to Emma that the
Victrola has
130:, "The Negro Drama in America took another step forward when The Ethiopian Art Players under Raymond O'Neil, came to Broadway, New York. Financially the experiment was a failure; but dramatically and spiritually it was one of the greatest successes this country as ever seen."
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is an unaffected and wholly convincing transcript of everyday character. No one is tricked out of pleasure; no one is blackened to serve as a 'dramatic' contrast. I am referring, of course, to points of essential character, not to that matter of walnut stain."
249:"Literature of the Harlem Renaissance." Twentieth-Century Literary Criticism. Ed. Thomas J. Schoenberg and Lawrence J. Trudeau. Vol. 218. Detroit: Gale, 2009. Literature Resource Center. Web. 14 Mar. 2016.
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Carroll, Anne. "Art, literature, and the Harlem
Renaissance: the messages of God's Trombones." College Literature 29.3 (2002): 57+. Literature Resource Center. Web. 14 Mar. 2016
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Nesmith, N. Graham. "Willis
Richardson, Forgotten Pioneer of African-American Drama." African American Review 35.2 (2001): 331. Literature Resource Center. Web. 14 Mar. 2016.
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to 1940. Ed. Trudier Harris-Lopez and
Thadious M. Davis. Detroit: Gale, 1987. Dictionary of Literary Biography Vol. 51. Literature Resource Center. Web. 14 Mar. 2016
218:"Harlem Renaissance." Merriam Webster's Encyclopedia of Literature. Springfield, MA: Merriam-Webster, 1995. Literature Resource Center. Web. 14 Mar. 2016.
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is noted for its simplicity. None of the characters are over glorified or overdone. Bernard
Peterson quotes from the
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and is historically important as the first serious work by an
African American playwright to be presented on
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Cleage, Pearl, and
Douglas Langworthy. "Making Our History: An Interview with the Playwright."
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277:. Vol. 35, No. 2 (Summer, 2001), pp. 331-333. Published By: Indiana State University.
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209:. Vol. 32. Detroit: Gale, 2009. Literature Resource Center. Web. 14 Mar. 2016
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Perry, Patsy B. "Willis
Richardson." Afro-American Writers From the
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The
Development of Black Theater in America: From Shadows to Selves
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for the African American community. In a review of the biography
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The Theatre of Black Americans: A Collection of Critical Essays
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Willis Richardson, Forgotten Pioneer of African-American Drama
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Willis Richardson, Forgotten Pioneer of African-American Drama
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Willis Richardson, Forgotten Pioneer of African-American Drama
146:(1999), by Christine Raucous Gray, N. Graham Nesmith writes:
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The “chip woman” who lives with Liza's family in their home
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center on black conflicts within the black community."
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is a 1923 one act play written by American playwright
155:On December 13, 1922, Richardson sent a letter to
262:. Baton Rouge: Louisiana State UP, 1988. Print
33:. Although Broadway had seen African American
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290:. Greenwood Publishing Group, 1999. p. xvi.
310:. Greenwood Publishing Group, 1999. p. 27.
64:Mother of Emma, struggling with her health
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231:. New York, NY: Applause, 1987. Print
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205:13.24 (July-Aug. 1996): 22. Rpt. in
138:Noted as one of the most important
55:Liza's daughter, 18 and beautiful
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306:Gray, Christine Rauchfuss.
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134:Willis Richardson's Legacy
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117:The Chip Woman’s Fortune…
109:The Chip Woman's Fortune
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275:African American Review
339:African-American plays
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78:Silas
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60:Liza
51:Emma
37:and
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