Editing August Wilson (section)

=== 1990s ===
In 1990, Wilson left St. Paul after getting divorced and moved to [[Seattle]]. There he developed a relationship with [[Seattle Repertory Theatre]], which produced his entire 10-play cycle and his one-man show ''How I Learned What I Learned.''<ref name= "Little 2000" />

Though he was a writer dedicated to writing for theater, a Hollywood studio proposed filming Wilson's play ''Fences''. He insisted that a Black director be hired for the film, saying: "I declined a White director not on the basis of race but on the basis of culture. White directors are not qualified for the job. The job requires someone who shares the specifics of the culture of Black Americans." The film remained unmade until 2016, when [[Denzel Washington]] directed the film ''[[Fences (film)|Fences]]'', starring Washington and [[Viola Davis]]. It earned Wilson a posthumous Oscar nomination.<ref>{{cite news|last1=Viagas|first1=Robert|title=Denzel Washington's Fences Film Begins Shooting Today|url=http://www.playbill.com/article/denzel-washington-39-s-fences-film-begins-shooting-today-com-382902|date=April 22, 2016|work=Playbill|access-date=April 25, 2016}}</ref>

Wilson received many honorary degrees, including an honorary Doctor of Humanities from the University of Pittsburgh, of which he was a trustee from 1992 until 1995.<ref>{{cite news | author=Bruce Steele | title=Remembering August Wilson 1945–2005 | url=http://www.umc.pitt.edu/media/pcc051010/august_wilson_2005OCT10.html | archive-url=https://web.archive.org/web/20060902071459/http://www.umc.pitt.edu/media/pcc051010/august_wilson_2005OCT10.html | work=The Pitt Chronicle | publisher=The University of Pittsburgh | date=October 10, 2005 | archive-date=September 2, 2006| access-date=October 1, 2008}}</ref>

Wilson maintained a strong voice in the progress and development of the (then) contemporary Black theater, undoubtedly taking influences from the examples of his youth, such as those displayed during the [[Black Arts Movement]]. One of the most notable examples of Wilson's strong opinions and critiques of what was Black theater's state in the 1990s, was the "On Cultural Power: The August Wilson/Robert Brustein Discussion" where Wilson argued for a completely Black theater with all positions filled by Blacks. Conversely, he argued that Black actors should not play roles not specifically Black (e.g., no Black Hamlet). Brustein heatedly took an opposing view.