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By A. Scott Henderson, P. L. Thomas (eds.)

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1988). Critical essays on James Baldwin. Boston, MA: Hall & Co. Thornton, J. E. (1976). James Baldwin and the Christian tradition. Doctoral dissertation. State University of New York, Buffalo. 27 SUSAN WATSON TURNER 2. WHY THEATER, MR. BALDWIN? The Amen Corner and Blues for Mister Charlie The personal relationship each author has with another author can be tangible or intangible since great authors make themselves known to us through their work. Great authors travel with us, go to bed with us, and enter other very personal aspects of our lives.

Critical essays on James Baldwin (pp. 125-143). Boston, MA: Hall & Co. , & Pratt, L. ). (1980). Conversations with James Baldwin. Jackson, MS: University Press of Mississippi. , & Burt, N. ). (1988). Critical essays on James Baldwin. Boston, MA: Hall & Co. Thornton, J. E. (1976). James Baldwin and the Christian tradition. Doctoral dissertation. State University of New York, Buffalo. 27 SUSAN WATSON TURNER 2. WHY THEATER, MR. BALDWIN? The Amen Corner and Blues for Mister Charlie The personal relationship each author has with another author can be tangible or intangible since great authors make themselves known to us through their work.

Xii). Soon after the production of A Raisin in the Sun, a small group of Black theaters emerged. The Ford and Rockefeller Foundations began providing funding for Black theater institutions, particularly as a result of the Black Arts Movement, headed by Larry Neal and Amiri Baraka. Furthermore, Douglas Turner Ward would receive a three-year grant from the Ford Foundation in 1967 to fund The Negro Ensemble Company located at that time in Greenwich Village’s St. Marks Theater. These initial attempts to establish an autonomous voice for the Black writer within the professional theater would come after Baldwin’s theatrical efforts.

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