These five plays strategically revise the rhetoric, representations, ideologies, and iconography of the African American freedom struggle, subverting its dominant narrative. This revision critiques racial uplift ideology's tenets of civic and moral virtue as a condition of African American full citizenship. The dramas also reimagine the Black Arts movement's restrictive notions of black authenticity as a condition of racial identity, and their staged representations construct a counter-narrative to cultural memory of the freedom struggle during that very era. In their use of a "postblack ethos" to enact African American subjectivity, the plays envision black identity beyond the quest for freedom, anticipating what blackness might look like when it moves beyond the struggle.
The plays under discussion range from the canonical (Lorraine Hansberry's A Raisin in the Sun and Amiri Baraka's Dutchman) to celebrated, yet understudied works (Alice Childress's Wine in the Wilderness, Howard Sackler's The Great White Hope, and Charles Gordone's No Place to Be Somebody). Finally, Davis discusses recent revivals, showing how these 1960s plays shape dimensions of modern drama well beyond the decade of their creation.
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