panopticon
Superstar
:towelmax:Hurts worse then the video I saw with Sanaa in the car with Diddy and French Montana
Teyonnah Paris stars in "Slave Play"
- Thread starter FeverPitch2
- Start date
futureDevelopment
~crackin windshields~
futureDevelopment
~crackin windshields~
Hers or the playwrights?
I think it's fukked up that the most disgusting, hateful wenches are running around with natural hair. Just goes to show you it doesn't mean shyt, and is beginning to mean something totally different from what it originally signaled.
I would rather see the "hairhats" doing shyt like this (but their fetish is being beat down by koreans instead)...
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A Black man wrote it 
He's one of those avant-garde gay Black writers that think by doubling down on ridiculous ideas framed as "Black genius" that panders to White liberal sensibilities, that it makes him an actual genius
It actually sickens me
He's one of those avant-garde gay Black writers that think by doubling down on ridiculous ideas framed as "Black genius" that panders to White liberal sensibilities, that it makes him an actual genius
It actually sickens me
The majority of "wenches" still wear hairhats.
Natural hair care is in part, a class thing. The majority of "wenches" probably grew up suburban, and were/are in college, where natural hair is encouraged, and attainable.
There was 0 weave when I was in college, wigs were damn near non-existent, it wasn't until I was back in the hood, teaching, that I saw it again.
Mr. Harris does not squander the satirical opportunities this setup offers. Words like “positionality,” “minoritarian” and “heteropatriarchal” get quite a workout as Ms. La Tour and Ms. Lucio mine characters whose intelligence has been co-opted by cant. And though some of this material could use pruning, Mr. O’Hara proves the perfect collaborator in staging it, playing the comedy so bright and dense that you don’t have the bandwidth to grow bored. Nor do you notice, until you’re too far along, that comedy is not all it is.
...
“Slave Play” asks a lot of the audience, too — but let me speak just of myself. It’s hard for a critic to heed what seems to be its general instruction, at least to white people, to shut up for once and listen. If you are in the reviewing trade, you wonder whether that’s just a feint at foiling criticism. So be it.
Seems like all the white reviewers are eating this up. I almost want to see a review from an actual black person, but I'm pretty sure what kind would be interested in the source material in the first place.
Review: Race and Sex in Plantation America in ‘Slave Play’
SLAVE PLAY is the recipient of the Rosa Parks Playwriting Award, the Lorraine Hansberry Playwriting Award, The Lotos Foundation Prize in the Arts and Sciences and the 2018 Paula Vogel Award.
SLAVE PLAY at New York Theatre Workshop begins 11/19!
Jeremy O. Harris Named 11th Recipient of Paula Vogel Playwriting Award | Playbill
Already winning awards just for writing this.
...
“Slave Play” asks a lot of the audience, too — but let me speak just of myself. It’s hard for a critic to heed what seems to be its general instruction, at least to white people, to shut up for once and listen. If you are in the reviewing trade, you wonder whether that’s just a feint at foiling criticism. So be it.
Seems like all the white reviewers are eating this up. I almost want to see a review from an actual black person, but I'm pretty sure what kind would be interested in the source material in the first place.
Review: Race and Sex in Plantation America in ‘Slave Play’
SLAVE PLAY is the recipient of the Rosa Parks Playwriting Award, the Lorraine Hansberry Playwriting Award, The Lotos Foundation Prize in the Arts and Sciences and the 2018 Paula Vogel Award.
SLAVE PLAY at New York Theatre Workshop begins 11/19!
Jeremy O. Harris Named 11th Recipient of Paula Vogel Playwriting Award | Playbill
Already winning awards just for writing this.
ReturnOfJudah
Veteran
futureDevelopment
~crackin windshields~
Bout ready to go off the grid at this point brehs
That's the whole point -- to keep you on ice because you can't trust her. And keep her on ice waiting for someone like him to come along (while she turns her nose up at you, because you're "not on her level")...
Psyops.
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I wouldn't even go that far.
They're just "new Black" and despite never having produced a strong Black male character, they think throwing it all away will garner them support, nearly all of it from Whites.
Strongest Black male character on television is probably on This is Us.
Outside of Black-ish, pretty much non-existent.
This is universal level c00nery. How does this get funded? Whose the intended audience? Its winning awards?
Bizarre white domination fantasy being framed as "progressive" by a Black playwright.
Its a Broadway play written by a Black man, it wasn't likely she was going to turn it downliterally almost every famous black women "the coli" puts on a pedestal just can't help themselves and expose bedwench tendencies sooner or later
Loyal Queens of the Diaspora indeed
Why are y'all focusing so heavily on the actors/actresses and not the man who literally wrote, directed and got this on Broadway in the first place
Rell84shots
Veteran
There's your answerThis is universal level c00nery. How does this get funded? Whose the intended audience? Its winning awards?
GPBear
The Tape Crusader
I did theater for years and eventually quit because I realized 90% of it was weirdos acting out their repressed sexual desires. I’d have arguments with people about needing to make quality productions, and not just giving drama nerds a reason to dry hump each other and act like they accomplished something. Even I never thought it would come to this.“Slave Play,” it turns out, is the blunter way of phrasing what Teá and Patricia are up to. They call it Antebellum Sexual Performance Therapy. They birthed it at Smith and raised it up at Yale, and it’s a radical role-play-based therapy intended to “help black partners reengage intimately with white partners from whom they no longer receive sexual pleasure.” It’s about “tackling your anhedonia at its source,” Teá assures Kaneisha, Phillip, and Gary, as all three couples reemerge onto the stage in the play’s second act, with the nervy closed faces of actors girding their loins for a particularly frustrating talk-back. The brilliant twist of Slave Play is that for all the graphic intimacy of the show’s first act, its performers are infinitely more exposed in the acts to come, when the real people that they’re playing must struggle to come to grips with the fantasies they’ve just enacted. The casual put-on racism, seemingly bizarre desires, and flights of violence that occurred during the couples’ role-play might have hurt, but attempting to look each other in the eyes after the performance — attempting to speak to each other and, more important and more difficult, to listen — is going to hurt much, much more.
What?
A poor excuse to allow NYT journalists unleash every pent-up, racist archetype into a 
orgy of words.I think it’s obvious the playwright would take part in these demeaning sexual fantasies in private, feel guilty about his role playing afterwards, and then decided to write a play about it to somehow come to grips with his conscience. It’s sickening. This is what I tried telling people in the Malia Obama thread, who said “oh they want someone who went to Harvard.” Going to these Ivy League schools doesn’t mean shyt - just look how backwards this playwright from Yale is.