ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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the Little Boy. The Little Boy listens intently, occasionally interjecting questions or comments, as Uncle Remus relates the adventures of Brer Rabbit, his key nemesis Brer Fox, and more than a dozen other characters. Critics and literary scholars have compared Harris’ metaphoric uses of animals to the struggles in human conflicts, to traditional African trickster tales, as well as to European works by Aesop and Chaucer. 172 Some general similarities to Punch and Judy suggest the attraction such stories might have held for a puppeteer. Like Punch, Brer Rabbit thwarts all attempts to control or capture him. In perhaps the most famous story, Brer Fox creates a sculpture of a baby in tar. Brer Rabbit arrives and attempts to have a chat with the baby. Enraged by the child’s refusal to discourse with him, Brer Rabbit strikes it and becomes trapped. Victory for the fox seems certain, but Mr. Rabbit fools him into the hare’s release, using what has become one of the most famous acts of trickery in all of American popular culture: “Well, I speck I got you dis time, Brer Rabbit […] You been runnin’ ‘roun’ here sassin’ atter me a mighty long time, but I speck you done come ter de cen’ er de row […] ‘en dar you is, en dar you’ll stay twel I fixes up a bresh- pile and fires her up, kaze I’m gwinteter bobbycue you dis day, sho,” sez Brer Fox, sezee. Den Brer Rabbit talk mighty ‘umble, “I don’t keer w’at you do wid me, Brer Fox,” sezee, “so you don’t fling me in dat brier-patch. Roas’ me, Brer Fox,” sezee, “but don’t fling me in dat brier-patch,” sezee. “I ain’t got no string,” sez Brer Fox, sezee, “en now I speck I’ll hatter drwon you,” sezee. “Drown me des ez deep es you please, Brer Fox,” sez Brer Rabbit, sezee, “but do don’t fling me in dat brier-patch, “ sezee. “Dey ain’t no water nigh,” sez Brer Fox, sezee, “en now I speck I’ll hatter skin you,” sezee. 172 “Biography of Joel Chandler Harris,” In Harper Anthology of American Literature, vol. 2 (New York: Harper & Row, 1994). 133
“Skin me, Brer Fox,” sez Brer Rabbit, sezee, […] “but do please, Brer Fox, don’t fling me in dat brier-patch,” Co’se Brer Fox wnater hurt Brer Rabbit bad ez he kin, so he cotch ‘im by de behime legs en slung ‘im right in de middle er de brierpatch [… ] Brer Rabbit wuz bleedzed fer ter fling back some er his sass, en he holler out: “‘Bred en bawn in a brier-patch, Brer Fox--bred en bawn in a brier-patch!” en wid dat he skip out des ez lively as a cricket in de embers. 173 The heroic underdog and his humorous victory connect the piece thematically to the puppet theatre’s most famous protagonist. Though Sarg’s production is the only recorded example of The Uncle Remus stories in early twentieth- century American puppetry, it was a logical addition to the marionette pantheon. It is a marked departure from previous examples of blackface puppetry, as it is the first example of an African American text presented by object theatre. Harris’s writings, likewise, were an important contribution to the nineteenth-century American literary cannon, which offered few works from African American tradition. Harris preserved tales from black American enslavement culture at a time when industrial expansion was steadily encroaching on the local culture of agrarian America. For these reasons, literary historians have characterized the stories as symbolic of the burden of enslavement. Debates have centered on themes of subordination/resistence, 173 Except from: Joel Chandler Harris, “How Mr. Rabbit was Too Sharp for Mr. Fox,” Nights with Uncle Remus: Myths and Legends of the Old Plantation (Boston: James R. Osgood, 1881), reprinted in: Melissa Murray and Dominic Perella, “Uncle Remus’ Songs and Sayings (Selected Text),” Uncle Remus: Social Context and Ramification (Richmond: University of Virginia, 1997), accessed 16 July 2004, http://xroads.virginia.edu/~UG97/remus/toosharp.html. 134
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ABSTRACT Title of Dissertation: THE
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THE PHENOMENOLOGY OF RACIALISM: BLA
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Dedication This dissertation is ded
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Table of Contents Dedication.......
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House and the Brooklyn Academy of M
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Bert O’States expands on the meth
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previous related performances, are
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“blackface” as counterfeit perf
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demands of this transcendent notion
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To manage such an investigation, th
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a celebration of superiority. 20 Th
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playbill, minstrel show script, con
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Lano fancies himself an advocate of
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of the African American race, and s
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in creating the first connection be
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In order to explain the interaction
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performance. 29 Marionette minstrel
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Nonetheless, it maintains the criss
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3), into more complex types. By the
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from the head and leg strings, can
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leased Queen’s Hall in Liverpool
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effectively capture the nonlinear p
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other puppet, is not slack and seem
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was already showing considerable ar
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The Marionettes in Performance The
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of an aged former slave who has esc
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The criminal acts and dishonesty de
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Antislavery songs in a marionette p
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e useful to compare the joke exchan
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the figure, once “folded up prepa
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eginning with a wide variety of mar
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Christy Minstrels, with their reper
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Walter E. Deaves Edwin Deaves, Walt
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some images of minstrel players (re
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Yet, one cannot easily reduce the s
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Daniel Meader Sometime after 1874,
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lackface makeup, rather than authen
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figure 12. His hair is slightly hig
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puppets for the last time, he may s
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The Meader Uncle Tom suggests the e
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Chapter III: David Lano The Essence
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lackface characters for ridicule; h
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doctor. Lano then depicts the black
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A colored quartet now sang. They we
Page 89 and 90: The Career of David Lano While thre
Page 91 and 92: Lano’s solo career. One of the la
Page 93 and 94: human oddities. Like many of its ki
Page 95 and 96: “continually transforms necessity
Page 97 and 98: David Lano’s Work Lano’s extant
Page 99 and 100: such as the kakunga of the Suku peo
Page 101 and 102: The clothes are a curious blend of
Page 103 and 104: the age of ten, he presented his ow
Page 105 and 106: Punch murdering the Servant. Lano c
Page 107 and 108: form by introducing sentimental mus
Page 109 and 110: creation on the basis of active mot
Page 111 and 112: divided between the “Sambo” and
Page 113 and 114: Though they share in the appercepti
Page 115 and 116: mild embarrassment on his use of Ji
Page 117 and 118: “The marionette can be anything o
Page 119 and 120: he [can] find them.” 147 Calthrop
Page 121 and 122: of the Moor, who is, though still m
Page 123 and 124: slanted and sharp, the nostrils are
Page 125 and 126: perhaps the beginning puppeteer, wh
Page 127 and 128: taken it from playwright Tsou Ku Ch
Page 129 and 130: figure, who dismisses his complaint
Page 131 and 132: Thus, the structure of the play pre
Page 133 and 134: Chapter V: The Majors The major pup
Page 135 and 136: Bedchamber.” 165 Sarg described:
Page 137 and 138: Critics and fellow puppeteers prais
Page 139: Sarg and Blackface Though Sarg neve
Page 143 and 144: possibilities of puppetry led him t
Page 145 and 146: was common with the so-called “To
Page 147 and 148: present his particular imaginations
Page 149 and 150: herself in need of independent econ
Page 151 and 152: The Essence of Puppetry for Sue Has
Page 153 and 154: the head to the right and left, to
Page 155 and 156: art,” and “a descendent of the
Page 157 and 158: puppeteers to avoid complicated and
Page 159 and 160: delicate verisimilitude for blackfa
Page 161 and 162: Remo Bufano: The Local Emcees the E
Page 163 and 164: Club’s stage (ca 1932) began with
Page 165 and 166: world culture, including a Medieval
Page 167 and 168: impressive aspects of elaborate, la
Page 169 and 170: capture the great variety of black
Page 171 and 172: tangled a Prime Minister marionette
Page 173 and 174: program continued with a pair of ne
Page 175 and 176: no good messin’ aroun’ wid whit
Page 177 and 178: By inaugurating the action with thi
Page 179 and 180: lackface stereotypes, but also mark
Page 181 and 182: Brown’s puppetry work is enigmati
Page 183 and 184: (Marionette Minstrel Show), and Bru
Page 185 and 186: and personality for her/his creatio
Page 187 and 188: Paris’s semiotic choices introduc
Page 189 and 190: characters were common to the varie
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However, the essential realism of t
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A ninth grade Art Club in Oshkosh,
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the Royal Marionettes, with some re
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slips away with his clothes. The ti
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the same moment, Mumbo commented on
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Munger also introduced a range of a
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minstrelsy. They would also permit
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yo all arrested.” 249 In the same
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exclamation; “Oh, my lan’! Now
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Tom. Simon Legree was a puppet base
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event led to a full season of produ
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comic context of their puppet plays
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epresentations of blacks would cont
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impressive, and touted his enterpri
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clearly believes that some other pu
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of the play to connect with African
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its length (see figure 52). Finally
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O’Neill’s take on Henri Christo
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audiences, then goes on to suggest
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Chesse’s reading of Brutus was th
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meticulous artistic strokes then, c
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Many of the lost objects may have b
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sketches would be well-served by th
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The FTP production of Little Black
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transmitted to, and circulated with
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Conclusion: Phenomenology, Authenti
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the essence of less grotesque black
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used them in plays where puppets ce
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minstrelsy-derived Topsy, as genuin
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productions featuring blackface cha
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_. Race and Ethnic Relations. 3 rd
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Durham, Weldon B. ed. American Thea
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Hill, Errol. Shakespeare in Sable:
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Mahar, William J. Behind the Burnt
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Powell, Herbert Preston. The World'
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Spurling, Laurie. Phenomenology and
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