ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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There appears to have been at least some effort on the part of these puppeteers to limit the most egregious exaggerations to the vestiges of the more clownish puppets. Sambo, the clever child who defeats a band of tigers, is almost human. Jumbo, the ne’er do well father of Sambo, a character without influence or agency within the tale, is as exaggerated in his blackface appearance as his minstrel clown counterparts. There is, therefore, clear agency within its essence. But the copresence of stereotype cannot be merely rejected out of hand, for the possibilities of a particular blackface frontality are conditioned by the blackface puppets that exist before them. However, the African American puppeteers shown in the photograph of a Philadelphia production of Little Black Sambo were less successful in giving Sambo humanity. Their objects are similar to the exaggerated blackface toys examined in chapter VI (see figure 62). The father and mother have comically pointed noses. Sambo’s eyes are unnaturally large, and his nose, though not pointed, is nonetheless exaggerated in size. A Buffalo, New York unit’s production of Uncle Tom’s Cabin also illustrates the most exaggerated images of blackface puppetry (see figure 63). The Topsy depicted in the photograph is coal black and has an almost simian ridge for her brow. Counterintuitively, the fragments of history seem to suggest that white puppeteers produced less stereotyped blackface puppets than their African American colleagues, at least in the annals of the Federal Theatre Project. The categorical distinctions drawn by McPharlin, Sarg, and other puppeteers of the early twentieth century explain this seemingly contradictory circumstance. African American puppeteers, who one might initially expect to undercut the stereotypes 231
transmitted to, and circulated within, puppetry derived from white-created blackface performance, cannot simply produce objects in a vacuum. Their art was as conditioned by Fig. 62. “Little Black Sambo.” Photograph by the Federal Theatre Project (Washington: National Archives, 1936). previously constructed essences,whose co-present heritage also affected the possibilities available to white puppeteers. Thus, it was a logical choice to produce more exaggerated, clownish objects for the comic behavior of Sambo, Jumbo, and Topsy. The categorical distinction that seeded the eidos of blackface puppetry with the equation minstrel clown=lowbrow/comic blackface puppet character inhabited the essence of puppetry for 232
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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
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delicate verisimilitude for blackfa
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Remo Bufano: The Local Emcees the E
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Club’s stage (ca 1932) began with
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world culture, including a Medieval
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impressive aspects of elaborate, la
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capture the great variety of black
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tangled a Prime Minister marionette
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program continued with a pair of ne
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no good messin’ aroun’ wid whit
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By inaugurating the action with thi
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lackface stereotypes, but also mark
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Brown’s puppetry work is enigmati
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(Marionette Minstrel Show), and Bru
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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
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: The FTP production of Little Black
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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