In the early days of my carer as an actor, I shared what was then the prevailing attitude of Negro performers — that the content and form of a play o… - Paul Robeson

There are others, honest men beyond all doubt and sincerely concerned with their people's welfare, who seem to feel that it is the duty of a leader to discourage Negro mass action. They think that best results can be achieved by the quiet negotiations they carry on. And so when something happens that arouses the masses of people, and when the people gather in righteous anger to demand that militant actions be started, such men believe it their duty to cool things off.

I found a special eagerness among the younger, and I am sorry to say, the more intelligent Negroes, to dismiss the spiritual as something beneath their new pride in their race. It is as if they wanted to put it behind them as something to be ashamed of...

It was deeply fascinating to watch how strikingly contemporary American audiences from coast to coast found Shakespeare's Othello — painfully immediate in its unfolding of evil, innocence, passion, dignity and nobility, and contemporary in its overtones of a clash of cultures, of the partial acceptance of and consequent effect upon one of a minority group. Against this background, the jealousy of the protagonist becomes more credible, the blows to his pride more understandable, the final collapse of his personal, individual world more inevitable. But beyond the personal tragedy, the terrible agony of Othello, the irretrievability of his world, the complete destruction of all his trusted and sacred values — all these suggest the shattering of a universe.