ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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proximity to the African American populations of New York City, this cannot be the cause of mere ignorance. This example demonstrates how the general eidos of blackface puppetry can transcend the aesthetic essence of individual puppeteers. The categorical association between minstrel-styled blackface puppets and lowbrow entertainment so embedded itself in Hastings’s perception of the essence of the form, that she was unable to apply her characteristic verisimilitude to it, despite a dozen ventures into it. 153
Remo Bufano: The Local Emcees the Exotic Remo Bufano, the puppeteer that both Hastings and Sarg noted in their memoirs, was an enthusiastic experimenter. Where Hastings preferred variety, Bufano aggressively pursued the most impressive dramatic subjects. He presented the Sicilian classic Orlando Furioso (ca 1920s) and, most famously, contributed ten-foot rod puppets for Robert Edmund Jones’s production of Igor Stravinsky’s Oedipus Rex (1931). Though Hastings called his objects crude, no one could say that he did not brave challenging material. Remo Bufano created a remarkably intimate example of McPharlin’s categorical distinction. His productions, no matter their subjects or themes, always began with Mr. Julius Caesar (see figure 33). Bufano described this marionette as “the darky master of Fig. 33. “Mr. Julius Caesar.” Sketch by Remo Bufano. Copied from: Remo Bufano. Be a Puppet Showman. New York: The Century Company, 1933, 2. ceremonies, manager and announcer of [the] marionette theater.” 202 Despite any expectations created by Bufano’s use of the term “darky,” Mr. Julius Caesar was not a 202 Remo Bufano, Be a Puppet Showman (New York: The Century Company, 1933), 2. 154
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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
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The Career of David Lano While thre
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Lano’s solo career. One of the la
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human oddities. Like many of its ki
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“continually transforms necessity
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David Lano’s Work Lano’s extant
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such as the kakunga of the Suku peo
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The clothes are a curious blend of
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the age of ten, he presented his ow
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Punch murdering the Servant. Lano c
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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 and 140: Sarg and Blackface Though Sarg neve
Page 141 and 142: “Skin me, Brer Fox,” sez Brer R
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: delicate verisimilitude for blackfa
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
Page 191 and 192: However, the essential realism of t
Page 193 and 194: A ninth grade Art Club in Oshkosh,
Page 195 and 196: the Royal Marionettes, with some re
Page 197 and 198: slips away with his clothes. The ti
Page 199 and 200: the same moment, Mumbo commented on
Page 201 and 202: Munger also introduced a range of a
Page 203 and 204: minstrelsy. They would also permit
Page 205 and 206: yo all arrested.” 249 In the same
Page 207 and 208: exclamation; “Oh, my lan’! Now
Page 209 and 210: 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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