Stage Resilience : How contemporary African American playwrights like Eisa Davis and Suzan Lori-Parks are challenging aesthetically and commercially the insertion of “Black Voices” in “White Institutions” such as Broadway and Off-broadway?

It needs a very concise and profund discussion between the two playswrights’ texts ( concerning the first chapter).*SLParks,/ Eisa Davis/ African American Theater on Broadway and Off-Broadway are part of the main topic. But the analisys of both plays must be neat and convincing.
FIRST CHAPTER :
A) The information covered in the first chapter includes an introduction and plot analysis of the two main author’s plays considering Top Dog and Under Dog and Bulrusher have points in common through the prims of Critical Racial Theory — CRT applied to the scene. More specifically, what ideologies of this theory is manifested throughout these two texts that cohoborates to move Black Theater legacy forward. acknowledge, explore and elucidate some of the creative black character archetypes, myths, oral tales and folklore presented in both pieces of writing. ( at least 15 pages comparison – ).
The two plays must be quoated in MLA format, and the whole analysis is based on that. In other words, this is the most important part.
B) A) More specifically, What is the true role of a dramaturgist of color when issues of race, identity, tradition, target audience, violence, awards, and the value of Black art on stage are not on the same parity of equality as other groups in the same society ? ( to be developed in 10 pages).**
CHAPTER II :
A) How an artist of a BIPOC groups, here, more specifically, how African American authors are celebrated and accoladed by their artistry. Hence, one may discern a correlation between the level of entry difficulty faced by these groups, either because of their gender or color with the number of nominations and awards attributed to them. ( to be developed in 7 pages).**
A) What characteristics of Black theater in America today that hands out and holds water to black voices backwards and forwards on the scene. ( to be developed in 7 pages).**
CHAPTER III:
A) VII) A) In the scope and final part of this research, I question the importance and relevance of award-winning contemporary African-American playwrights such as Eisa Davis and Suzan Lori-parks, who consolidate, through their writing of black characters, a proper place – in the lack of better term – for “black protagonism” on the American stage. ( to be developed in 7 pages).**
B) How “to decide whether an aesthetic attests to true ‘contemporaneity’ or whether it merely perpetuates old models with technical accomplishment?”( to be developed in 5 pages).