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Dennis Leroy Moore

NYC Independent Filmmaker, Theatre Director & Writer

 

 

Bio-Sketch

 

New York City guerilla filmmaker Dennis Leroy Moore (DLM) was born in 1976 in Flushing, NY and is first-generation American. His parents are originally from Port of Spain, Trinidad. His first independent feature film As an Act of Protest, a lacerating, surreal drama about racism in America, was picked as the best “Black Film of the year” by The Black World Today and called “powerful” by Variety magazine. Needless to say, DLM’s work has begun to garner critical attention within the NY underground and across the country. Both political and personal, DLM’s work speaks specifically to the emerging generation of artists, the hip-hop community, and the alienated people of American society. In February 2003, DLM received an honorarium from UNC, Chapel Hill for a special discussion and screening of As an Act of Protest. It originally premiered at the Pan African Film Festival in Los Angeles, February 2002.

DLM has (literally) begged, borrowed, and stolen to support his art and is an admirer of avant-garde & Foreign films. His favorite filmmakers are a varied lot including Julie Dash, Haile Gerima, John Cassavetes, Francis Ford Coppola, Spike Lee, and Ingmar Bergman. His directing style is a unique blend and influence of expressionistic theater, the political subversion of Bertolt Brecht, the Black Arts Movement and the plays of Amiri Baraka, and the “documentary” naturalism of the European post-neo realists such as Lars von Trier and Thomas Vinterberg, founders of the Dogme 95 movement.

DLM first studied acting at the Sanford Meisner Theater in 1988.  He went on to graduate from the LaGuardia High School of Performing Arts, where he then studied in Russia at the Moscow Art Theater (Marat Yusim and Oleg Tabakov) and in 1994 earned a scholarship to study classical acting at the Juilliard Conservatory, where he instead began to direct. DLM left Juilliard to concentrate on the staging and reviving of Black American classics as opposed to the European ones. He has independently produced and directed several plays and is included in the Independent-Art Here Theater’s roster of “Best Directors of the 1990's.”  

He has curated readings, seminars, and was the very first artist to ever induct a Black Theater Seminar in Lincoln Center as well as perform a staged reading at Alice Tully Hall, which established the “Wednesday-at-One” series. Between 1993 and present Moore’s theater credits have included such plays as Tennessee Williams’ Twenty-Seven Wagons Full of Cotton, Bertolt Brecht’s in the Jungle of the Cities, Amiri Baraka’s (LeRoi Jones) Dutchman, and the Toilet, Elizabeth Wong’s China Doll about the Chinese-American screen star Anna May Wong, Samuel Beckett’s Krapp’s Last Tape, and comedian/poet Robbyne Kaamil’s The Bitch is Back He co-authored the still un-produced screen adaptation of Ed Bullins’early drama Goin’a Buffalo.

DLM has been hired to direct the film One Day in the Life,  former Black Panther Marvin X’s autobiographical tale of drug addiction and loss, in April 2003 on location in San Francisco and Oakland. In September, 2003 he plans to workshop and then shoot his next personal feature The Desperate Ones, a  dark, character-driven drama film about suicide, love, family, and the doom of war in the fall and early winter of 2003.

DLM is a co-founder of John Brown X Productions, LLC – an independent production company formed by Melissa Dymock, whose goal is to support filmmakers with truly independent visions and who are not afraid of challenging the media’s representation of women, people of color, and all those who are often marginalized or under-represented. John Brown X Productions, was named after the white abolitionist John Brown and the great political activist and religious leader Malcolm X. Together, these identities define a certain characteristic of American history and society otherwise forgotten and John Brown X Productions seek to produce and distribute films with the radical fearlessness of these two brave men of the past.

For further information on Dennis Leroy Moore’s work and to read in-depth reviews/essays about his first feature film “As an Act of Protest” visit www.asanactofprotest.com

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Dennis Leroy Moore’s THE ART OF ACTING

10 Week Intensive Acting Training Program

May 3rd to July 13, 2003

 

What is art? What makes acting an art? Why are artists important?

How important is it to create art in times of War?

Actor, Writer, & Director Dennis Leroy Moore seeks to find answers to these questions.

Moore’s 10 Week Intensive Acting Training Program is geared toward the practice, understanding, and exploration of the art of acting, the history of modern American theater (including the Black Arts Movement and the off-Broadway movement), and analysis of contemporary cinema and the actor’s contributions to movies in a personal, historical, and political context.

Classes will entail basic various forms of scene-study, workshop performances,  breathing exercises,  improvisation, watching old and new films (domestic & foreign), readings of new plays and screenplays intended to be directed by Dennis Leroy Moore.

The ultimate goal is to allow directors to be able to form ensembles to work with on their next film or theater projects.

This 10 Week Intensive Acting Program is designed to hone in on and benefit the actor as an artist, not as a celebrity or fetish of Pop culture. 

Beginning May 3rd to July 13, 2003 -- Saturdays and Sundays 1:00pm - 4:00pm

@ The Creative Acting Company (122 W. 26th St., 11th Floor)

Cost of Full Ten Week Session: $390.00

Small classes, convenient location

Call 212-969-0011 or 347-231-9779 

for registration and/or more information

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Sister Citizen: Shame, Stereotypes, and Black Women in America

By Melissa V. Harris-Perry

According to the author, this society has historically exerted considerable pressure on black females to fit into one of a handful of stereotypes, primarily, the Mammy, the Matriarch or the Jezebel.  The selfless Mammy’s behavior is marked by a slavish devotion to white folks’ domestic concerns, often at the expense of those of her own family’s needs. By contrast, the relatively-hedonistic Jezebel is a sexually-insatiable temptress. And the Matriarch is generally thought of as an emasculating figure who denigrates black men, ala the characters Sapphire and Aunt Esther on the television shows Amos and Andy and Sanford and Son, respectively.     

Professor Perry points out how the propagation of these harmful myths have served the mainstream culture well. For instance, the Mammy suggests that it is almost second nature for black females to feel a maternal instinct towards Caucasian babies.

As for the source of the Jezebel, black women had no control over their own bodies during slavery given that they were being auctioned off and bred to maximize profits. Nonetheless, it was in the interest of plantation owners to propagate the lie that sisters were sluts inclined to mate indiscriminately.

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Sex at the Margins

Migration, Labour Markets and the Rescue Industry

By Laura María Agustín

This book explodes several myths: that selling sex is completely different from any other kind of work, that migrants who sell sex are passive victims and that the multitude of people out to save them are without self-interest. Laura Agustín makes a passionate case against these stereotypes, arguing that the label 'trafficked' does not accurately describe migrants' lives and that the 'rescue industry' serves to disempower them. Based on extensive research amongst both migrants who sell sex and social helpers, Sex at the Margins provides a radically different analysis. Frequently, says Agustin, migrants make rational choices to travel and work in the sex industry, and although they are treated like a marginalised group they form part of the dynamic global economy. Both powerful and controversial, this book is essential reading for all those who want to understand the increasingly important relationship between sex markets, migration and the desire for social justice. "Sex at the Margins rips apart distinctions between migrants, service work and sexual labour and reveals the utter complexity of the contemporary sex industry. This book is set to be a trailblazer in the study of sexuality."—Lisa Adkins, University of London

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The White Masters of the World

From The World and Africa, 1965

By W. E. B. Du Bois

W. E. B. Du Bois’ Arraignment and Indictment of White Civilization (Fletcher)

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Ancient African Nations

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Negro Digest / Black World

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The Death of Emmett Till by Bob Dylan  The Lonesome Death of Hattie Carroll  Only a Pawn in Their Game

Rev. Jesse Lee Peterson Thanks America for Slavery / George Jackson  / Hurricane Carter

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The Journal of Negro History issues at Project Gutenberg

The Haitian Declaration of Independence 1804  / January 1, 1804 -- The Founding of Haiti 

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update 1 July 2008

 

 

 

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