Sizwe Banzi Is Dead | Copyright

These eNotes are an offprint from Drama For Students: Presenting Analysis, Context, and Criticism on Commonly Studied Dramas.

Drama For Students

Project Editor David Galens

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The editors wish to thank the copyright holders of the excerpted criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of Drama for Students (DfS). Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIALS IN DfS, VOLUME 14, WERE REPRODUCED FROM THE FOLLOWING PERIODICALS:

American Journal of Psychotherapy, v. XLIV, October, 1990. Reproduced by permission of the Association for the Advancement of Psychotherapy.— Contemporary Literature, v. 9, Spring, 1968. Copyright © 1968 The Board of Regents of the University of Wisconsin System. All rights reserved. Reproduced by permission.—Essays in Literature, v. 7, Spring, 1980. Copyright 1980 by Western Illinois University. Reproduced by permission.— Journal of Popular Film & Television, v. 23, Summer, 1995. Copyright © 1995 Helen Dwight Reid Educational Foundation. Reproduced with permission of the Helen Dwight Reid Educational Foundation, published by Heldref Publications, 1319 18th Street, NW, Washington, DC 20036–1802.— Modern Drama, v. 17, June, 1974; v. 42, Spring, 1999. Copyright © 1974, 1999 University of Toronto, Graduate Centre for Study of Drama. Reproduced by permission.—The New Leader, v. LXXX, June 30, 1997. © 1997 by The American Labor Conference on International Affairs, Inc. Reproduced by permission.—The New York Times, December 5, 1999 for “Going Online and Finding a Window on the Times ” by Katie Hafner. Copyright © 1999 by The New York Times Company. Reproduced by permission.—The Progressive, v. 60, August, 1996. Copyright © 1996 by The Progressive, Inc. Reproduced by permission of The Progressive, 409 East Main Street, Madison, WI 53703.—Representations, v. 61, Winter, 1998 for “Embodying the Public Sphere: Censorship and the Reading Subject in Beaumarchais’s Mariage de Figaro” by Elizabeth J. MacArthur. Copyright © 1998 by The Regents of the University of California. Reproduced by permission of the publisher and the author.—Texas Studies in Language and Literature, v. XIV, Fall, 1972 for “The Philosophical Assumptions of Congreve’s Love for Love” by F.P. Jarvis. Reproduced by permission of the publisher.

COPYRIGHTED MATERIALS IN DfS, VOLUME 14, WERE REPRODUCED FROM THE FOLLOWING BOOKS:

Auburn, Mark S. From Sheridan’s Comedies. University of Nebraska Press, 1977. Copyright © 1977 by the University of Nebraska Press. Reproduced by permission.—Brown, Janet. From Feminist Drama: Definition and Critical Analysis. The Scarecrow Press, Inc., 1979. Copyright ©1979 by Janet Brown. Reproduced by permission.—DeRose, David J. From Sam Shepard. Twayne Publishers, 1992. Copyright © 1992 by Twayne Publishers. All rights reserved. The Gale Group.—Griffin, Alice. From Understanding Lillian Hellman. University of South Carolina Press. © 1999 University of South Carolina. Reproduced by permission.—Hall, Ann C. From “Voices in the Dark: The Disembodied Voice in Harold Pinter’s Mountain Language,” in The Pinter Review: Annual Essays 1991. The University of Tampa Press, 1991. Reproduced by permission of the author.—Jennings, La Vinia Delois. From Alice Childress. Twayne Publishers, 1995. Copyright © 1995 by Twayne Publishers. The Gale Group.—Knowles, Ronald. From Understanding Harold Pinter. University of South Carolina Press, 1995. © 1995 by the University of South Carolina. Reproduced by permission.—Lederer, Katherine. From Lillian Hellman. Twayne Publishers, 1995. The Gale Group.—Love, Harold. From Congreve. Rowman and Littlefield, 1975. © Basil Blackwell 1974. Reproduced by permission of Blackwell Publishers.—Lyons, Charles R. From Rereading Shepard: Contemporary Critical Essays on the Plays of Sam Shepard. St. Martin’s Press, 1993. © The Macmillan Press Ltd 1993. Reproduced by permission of Macmillan, London and Basingstoke.—Prentice, Penelope. From “Mountain Language: Torture Revisited,” in The Pinter Ethic. Garland Publishing, Inc., 1994. Copyright © 1994 Penelope Prentice. All rights reserved. Reproduced by permission of the publisher and the author.— Rex, Walter E. From “The Marriage of Figaro,” in The Attraction of the Contrary: Essays on the Literature of the French Enlightenment. Cambridge University Press, 1987. © Cambridge University Press, 1987. Reprinted with permission of Cambridge University Press and the author.— Rutenberg, Michael E. From “A Delicate Balance,” in Edward Albee: Playwright in Protest. DBS Publications, Inc., 1969. © Copyright 1969 by Michael E. Rutenberg. All rights reserved under International and Pan-American Copyright Conventions. Reproduced by permission of the author.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN DfS, VOLUME 14, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Abe, Kobo, photograph. © Jerry Bauer. Reproduced by permission.—Albee, Edward, photograph by Marc Geller. Reproduced by permission of Marc Geller.—Ashcroft, Peggy as Fanny Farrelly, scene from a 1980 production of Watch on the Rhine, written by Lillian Hellman, photograph. © Donald Cooper/Photostage. Reproduced by permission.— Beaumarchais, Pierre August, engraving. The Library of Congress.—Black man running down West 125th Street, in Harlem, as a firefighter attempts to extinguish store on fire after the assassination of Martin Luther King, Jr., photograph. © Bettmann/Crobis. Reproduced by permission.—Buggy, Niall as Scandal (left to right), Tim Curry as Tattle, Stephen Moore as Valentine, and Amanda Redman as Angelica, scene from a 1985 production of Love for Love, written by William Congreve © Donald Cooper/ Photostage. Reproduced by permission.—Childress, Alice, photograph. © Jerry Bauer. Reproduced by permission.—Cleage, Pearl, photograph. © Barry Forbus. Reproduced by permission of Pearl Cleage.— Congreve, William, print. Archive Photos, Inc. Reoproduced by permission.—Cotton Club, nightclub’s name in neon lights, doorman wearing uniform, standing next to double doors, beauty Salon to the left, dress shop to the right, Harlem, New York City, ca. 1920–1940, photograph. Corbis Corporation. Reproduced by permission.—Cover of the Playbill for Y2K, written by Arthur Kopit, directed by Bob Balaban, performed by the Manhattan Theatre Club at the Lucille Lortel Theatre, 1999. PLAYBILL is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission of Richard Stoddard Performing Arts Books.—Credits page from the Playbill for Y2K, written by Arthur Kopit, directed by Bob Balaban, 1999. PLAYBILL is a registered trademark of Playbill Incorporated, N.Y.C. All rights reserved. Reproduced by permission of Richard Stoddard Performing Arts Books.—Crowley, Mart, photograph by Donald Cooper. AP/Wide World Photos. Reproduced by permission.—Ginzburg, Natalia, photograph. © Jerry Bauer. Reproduced by permission.— Gordon, C. Henry (left to right) as Dr. Cunningham, Clark Gable as Dr. George Ferguson and Elizabeth Allan as Barbara Denham in the 1934 film production of the play Men in White, written by Sidney Kingsley, directed by Richard Boleslawski, photograph. Kobal Collection. Reproduced by permission.— Hellman, Lillian, 1966, photograph. AP/ Wide World Photos. Reproduced by permission.— Hepburn, Katherine and Paul Scofield in the film A Delicate Balance, 1973, photograph. The Kobal Collection. Reproduced by permission.—Kingsley, Sidney, 1934, photograph. Bettmann/Corbis. Reproduced by permission.—Kopit, Arthur, photograph. AP/Wide World Photos. Reproduced by permission.— Lukas, Paul as Kurt Muller and Bette Davis as Sara Muller in the 1943 film version of Lillian Hellman’s play Watch on the Rhine, photograph. Kobal Collection/Warner Brothers. Reproduced by permission.—McCoy, Sylvester (left) as Count and John Bowe as Figaro, in a scene from a 1991 production of The Marriage of Figaro, written by Pierre-Augustin Caron de Beaumarchais, photograph. © Donald Cooper/Photostage. Reproduced by permission.—McEnery, John as Weston conversing with Alex Kingston as Emma, in a scene from the 1991 Royal Shakespeare Company production of Curse of the Starving Class, written by Sam Shepard, photograph. © Donald Cooper/ Photostage. Reproduced by permission.—Nelson, Kenneth as Michael, Frederick Combs as Donald, Reuben Greene as Bernard, Cliff Gorman as Emory, and Keith Prentice as Larry in the 1970 film version of the 1968 play The Boys in the Band, written by Mart Crowley, directed by William Friedkin, photograph. Kobal Collection/Cinema Center/Leo. Reproduced by permission.—Pinter, Harold, 1961, photograph. The Library of Congress.—Ringwald, Molly, and Brian Kerwin in a scene from the Pulitzer Prize winning play How I Learned to Drive, written by Paula Vogel, at the Mark Taper Forum, Los Angeles, February 13, 1999, photograph by Jill Connelly. AP/Wide World Photos. Reproduced by permission.— Shepard, Sam, photograph. The Library of Congress.—Sheridan, Richard Brinsley, photograph. The Library of Congress.—Smith, Maggie as Claire (left to right), Eileen Atkins as Agnes, and John Standing as Tobias, in a scene from a 1997 production of A Delicate Balance, photograph. © Donald Cooper/Photostage. Reproduced by permission.— St. Peter’s Basilica and surrounding square in Vatican City, photograph by George Freston. Hulton/ Archive. Reproduced by permission.—Thomas, Henry (left) as Wesley Tate and James Woods as Weston Tate in the 1998 film version of the 1998 play Curse of the Starving Class, written by Sam Shepard, directed by Michael J. McClary, photograph. Kobal Collection/Phillips, Ron/Media Entertainment. Reproduced by permission.—Vogel, Paula, photograph. AP/Wide World Photos. Reproduced by permission.—Wrestling scene at Drury Lane Theatre, from William Shakespeare’s play As You Like It, engraving by Ellis, after painting by Shepherd. Hulton/Archive. Reproduced by permission.