Cover image for I ain't sorry for nothin' I done : August Wilson's process of playwriting
I ain't sorry for nothin' I done : August Wilson's process of playwriting
Herrington, Joan, 1960-
Personal Author:
Publication Information:
New York : Limelight Editions, [1998]

Physical Description:
180 pages : illustrations ; 22 cm
Process of playwriting: introduction -- August arrives: a brief biography -- Four "B's": August Wilson's inspiration -- Consequence of tolerance: the development of "Ma Rainey's black bottom" -- Problematic practice: August Wilson at the Eugene O'Neill Theater Center's National Playwrights Conference -- Complexity of conflict: the development of "Fences" -- Cultural connection: the development of "Joe Turner's come and gone" -- Final knockout: August Wilson at the Yale Repertory Theatre and on the road to Broadway -- Jitney: August Wilson's round trip -- "I ain't sorry for nothin' I done": conclusion.
Format :


Call Number
Material Type
Home Location
Item Holds
PS3573.I45677 Z68 1998 Adult Non-Fiction Non-Fiction Area
PS3573.I45677 Z68 1998 Adult Non-Fiction Non-Fiction Area

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(Limelight). The most successful African-American playwright of his time, August Wilson is a dominant presence on Broadway and in regional theaters throughout the country. Herrington traces the roots of Wilson's drama back to the visual artists and jazz musicians who inspired award-winning plays like Ma Rainey's Come and Gone , Fences and The Piano Lesson . From careful analysis of evolving playscripts and from interviews with Wilson and theater professionals who have worked closely with him, Herrington offers a portrait of the playwright as thinker and craftsman.

Reviews 1

Choice Review

Structuring her book around aspects of Wilson's professional biography and themes that the playwright himself has identified, Herrington introduces the playwright's development in light of four well-known influences on his work: artist Romare Bearden; the 1960s plays of Amiri Baraka; the stories of Argentinean writer Jorge Luis Borges; and the all-important blues, about which Wilson maintains, "Anything you want to know about the black experience is in the blues." Herrington analyzes Wilson's process of playwriting--and how he brings black life as he knows it to the stage--by comparing successive drafts of his first three Broadway hits: Ma Rainey's Black Bottom, Fences, and Joe Turner's Come and Gone. The author strengthens her study with selections from her interviews with Wilson, directors Lloyd Richards and Walter Dallas, and actors such as James Earl Jones and Charles Dutton, and with details about the process of play development at the Eugene O'Neill Conference and the Yale Repertory Theatre. A discussion of Wilson's purportedly new method of rewriting as evidenced by Jitney, and the controversy he provokes with his ideas about building a black theatrical institution, complete an enjoyable and informative addition to Wilson's well-deserved critical literature. C. Packard University of Massachusetts at Amherst