ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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Chapter VI: The Many Records compiled by the Puppeteers of America 1934-1939 show an impressive aggregate of plays with blackface characters. In 1934 alone, dozens of companies and individual puppeteers presented a diverse menu of plays, including: Robinson Crusoe, Little Black Sambo, The Emperor Jones, Casper Among the Savages, and Aladdin. From the Indianapolis Tabernacle Presbyterian Church, to the Ringling Brothers and Barnum and Bailey Circus, to private stages throughout the country, thousands of spectators viewed diverse racialized fare. Nearly twenty-five percent of the companies depended on blackface puppets for their livelihood. 224 In subsequent years, the percentage of such plays declined steadily. In 1935, only twenty percent of puppeteers showcased plays with blackface characters. Less than ten percent of companies incorporated blackface material by 1937. 225 In 1939, only Marjorie Batchelder (Mrs. Bones), the Proctors (Adventures of Sambo and his Hound Dog), Antonio de Leon Richardson (Uncle Tom’s Cabin), Philadelphia’s Stellar Marionettes 224 Estimated from records in: Paul McPharlin, Puppetry: A Yearbook of Puppets and Marionettes (Detroit: Puppeteers of America, 1934), 80-94. Kay’s Marionettes adapted Aladdin (1934). George Berden, Peggy Bridge, Harry Ferris, Grace Gilden Macduff, Charles Mack, the Proctor Marionettes, and W. Norris Wenworth staged plays titled Punch and Judy. The Ep-Wep Puppeteers, the Roy Elbert Marionettes, and the University of Washington Puppeteers staged Robinson Crusoe. Harrisburg’s Community Theatre Puppeteers produced Cannibal Gold. Richard R. Casady presented a piece titled Casper Among the Savages. The Marionette Guild of New York presented The Emperor Jones. John Bastick Hanna showed the Marionette Follies of 1934. George R. New created In the Sultan’s Palace. The Maycourt Club produced the Clown Revue and Stanley Thompson produced The Clown Circus. Ruth Trappan created Juke’s Jungle. Harry Fowler, Sue Hastings, Edith and Romaine Proctor, Clara Sipherd produced school productions of Little Black Sambo. 225 Estimated from records in: Paul McPharlin, Puppetry: A Yearbook of Puppets and Marionettes (Detroit: Puppeteers of America, 1936), 98-108 and Paul McPharlin, Puppetry: A Yearbook of Puppets and Marionettes (Detroit: Puppeteers of America, 1937), 8-16. 175
(Marionette Minstrel Show), and Bruce Inverity (Robinson Crusoe) ventured into the genre. 226 The development of more inclusive social assistance programs and arts partnerships may explain why, at the same time Frank Paris and Ralph Chesse’ were producing the most sophisticated blackface puppet representations, the overall field of puppet theatre was increasingly devoid of related subjects. Some puppeteers, such as Harry Fowler, joined the staff of social service organizations including the Good Teeth Council for Children, spending their remaining careers presenting dental-health hand puppet shows. Others, such as George Berden and Grace MacDuff, stopped producing in the mid-1930s, perhaps to join the more financially stable non-artistic divisions of the WPA. 227 A few companies, among them the Tatterman Marionettes, allied themselves with corporations. The more specific needs of companies like General Electric would narrow the field, and eliminate some components of a repertoire developed in the highly competitive entertainment circles of the early 1900s. In the years of declining activity, puppeteers applied various aesthetics to their work representing black persons, illustrating that a wide variety of individual productions could exist within the categories that dominated the eidos of blackface puppetry. Frank Paris and the Lauer Sisters demonstrate some of the innovations that manifested in professional productions. The majority of amateur productions fulfilled the categorical distinction by producing lowbrow entertainments derived from minstrel stereotypes. The 226 See: Paul McPharlin, Puppetry: A Yearbook of Puppets and Marionettes (Detroit: Puppeteers of America, 1939), 98-109. 227 Paul McPharlin, The Puppet Theatre in America: A History 1524-1948 (Boston: Plays, Inc., 1949), 396-483. 176
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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
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creation on the basis of active mot
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divided between the “Sambo” and
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Though they share in the appercepti
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mild embarrassment on his use of Ji
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“The marionette can be anything o
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he [can] find them.” 147 Calthrop
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of the Moor, who is, though still m
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slanted and sharp, the nostrils are
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perhaps the beginning puppeteer, wh
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taken it from playwright Tsou Ku Ch
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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 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: Brown’s puppetry work is enigmati
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
Page 211 and 212: event led to a full season of produ
Page 213 and 214: comic context of their puppet plays
Page 215 and 216: epresentations of blacks would cont
Page 217 and 218: impressive, and touted his enterpri
Page 219 and 220: clearly believes that some other pu
Page 221 and 222: of the play to connect with African
Page 223 and 224: its length (see figure 52). Finally
Page 225 and 226: O’Neill’s take on Henri Christo
Page 227 and 228: audiences, then goes on to suggest
Page 229 and 230: Chesse’s reading of Brutus was th
Page 231 and 232: 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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