ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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Legree argue socioeconomic theories in commonsense language. Legree reminds Careless that the slave owner is “a free man” with rights; Careless counters that an abused servant cannot work very hard (11). Careless twarts Legree’s efforts; Legree exits to get his hounds. Eliza, played by a Greta Garbo portrait puppet, enters and laments that slave traders have sold her boy. As she discusses the evils that have been left behind by history, such as the burning of witches, her presence as Greta Garbo blurs the distinction between antislavery rhetoric and 1930s efforts toward political equality. Richardson’s text interacts with his charming puppetry strategies to increase vertical interest in the play’s sociocultural themes. Uncle Tom does not die; he flees to freedom with Eliza across the ice. In the final sequence, Simon Legree beats his hound puppets, focusing on one beast called Little Liberty. The hounds, appropriately, revolt and attack Legree, symbolizing the rise of the oppressed against the oppressor. In a play where Topsy is a representation of white American actor Martha Raye and Uncle Tom is a representation of a living black actor, the revolutionary impulses would have had immediate reference to the modern world. Richardson’s adaptation shapes what would otherwise be a nostalgic reproduction of a nineteenth-century abolitionist text so that audiences could perceive the events before them as part of a larger thematic comment on modern struggles for social justice. The context of amateur puppetry encouraged lowbrow artistic projects. However, as evidenced by the work of Richardson and others, it also led to occasional ventures into thematically challenging, even socially conscious blackface puppet shows. Weaver Dallas is a prime example of the latter. In 1927, Weaver Dallas produced a puppet show based on the “Uncle Remus” stories, at the University of Georgia, Athens. This single 203
event led to a full season of productions based on traditional African American folklore. De Courtin’ Couple demonstrates the efforts of a white puppeteer to engage the spirit of black culture in puppetry. Dallas designed hand puppets based on the animals featured in the African American folktales. A photograph in Puppet Plays (1931) shows Sis Goose and Brer Rabbit as the plush hand puppet bodies of a child’s stuffed animals. Dallas described Sis Goose, Brer Fox, Brer Rabbit, and Brer Dog in the words of Joel Chandler Harris, even going so far as to quote Harris’s Uncle Remus Stories. Dallas deepened the metaphoric reference of the characters by making their “live” representations of animals, rather than blackface objects. Simultaneously, Dallas makes the connection between black culture and the action of Couple evident from the first scene. Sis Goose sings the traditional African American spiritual “Oh, I Went Down into the Valley to Pray” as she washes clothes. The dialect is proven to be a direct adaptation from Harris: “Law, ef Ah ain’t done forgit eber las’ one er dem dirty dish towels!” 255 From the start, the audience is encouraged to anticipate connections between African American culture and the events of the puppet show. Thus, when Brer Fox corners Sis Goose at the laundry line, the audience has been prepared to consider the attempted “seduction” in the context of African American history. What would otherwise be a story of a fox currying the favor of a goose, by kissing her hand and complimenting her home, in order to eat her later, becomes a 255 Weaver Dallas, “De Courtin’ Couple,” Puppet Plays, ed. Paul McPharlin (Detroit: Paul McPharlin, 1931), 5. 204
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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
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Thus, the structure of the play pre
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Chapter V: The Majors The major pup
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Bedchamber.” 165 Sarg described:
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Critics and fellow puppeteers prais
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Sarg and Blackface Though Sarg neve
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“Skin me, Brer Fox,” sez Brer R
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possibilities of puppetry led him t
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was common with the so-called “To
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present his particular imaginations
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herself in need of independent econ
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The Essence of Puppetry for Sue Has
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the head to the right and left, to
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art,” and “a descendent of the
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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
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: Tom. Simon Legree was a puppet base
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
Page 233 and 234: Many of the lost objects may have b
Page 235 and 236: sketches would be well-served by th
Page 237 and 238: The FTP production of Little Black
Page 239 and 240: transmitted to, and circulated with
Page 241 and 242: Conclusion: Phenomenology, Authenti
Page 243 and 244: the essence of less grotesque black
Page 245 and 246: used them in plays where puppets ce
Page 247 and 248: minstrelsy-derived Topsy, as genuin
Page 249 and 250: productions featuring blackface cha
Page 251 and 252: _. Race and Ethnic Relations. 3 rd
Page 253 and 254: Durham, Weldon B. ed. American Thea
Page 255 and 256: Hill, Errol. Shakespeare in Sable:
Page 257 and 258: Mahar, William J. Behind the Burnt
Page 259 and 260: Powell, Herbert Preston. The World'
Page 261 and 262:
Spurling, Laurie. Phenomenology and
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