ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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different artists, the particular essences of each individual portion (puppet, movement, and text) can contribute to a convoluted essence for the puppet as a total character. This is most visibly manifested in a self-referential essence of puppetry. This investigation detailed the comment by the voice-actor for “Old Snowball,” who described the “grey wool” on his head, referencing the artificial nature of the object. Brown’s Crusoe and Topsy bemoaned their treatment at the hands of their creators. The complicated interaction of disparate puppetry elements is articulated by the notion of essence, which exists as both the nature of constituent parts and the nature of the whole coalesced in performance. Thus, it is the fervent hope of this author that further scholarly work may find phenomenology useful for investigating the history of puppet theatre. Puppet theatre remains one of the more underrepresented of theatrical subjects. This may be due to the general marginalization of puppetry in artistic circles. It may also be due to the paucity of meaningful scholarly work on the subject. There is nothing scholars can do to respond to the first cause; there is something scholars can do to respond to the second. Scholars interested in American puppetry will face the equally daunting challenge of a general lack of representative materials. Indeed, this investigation could only uncover fragments of a few dozen productions from nearly three quarters of a century of theatre history. This is perhaps no worse a dilemma than what faces scholars studying many theatre history subjects. 285 The records of the Puppeteers of America suggest that the few dozen productions unearthed constitute only a small percentage of the puppet 285 th The most obvious example is 5 century Athenian drama, of which only a few dozen scripts exist from over a thousand recorded productions. 241
productions featuring blackface characters that occurred from 1872 to 1939. That these may be the only fragments of a complicated history justify their study. Phenomenology can help maintain the scholar’s lens within the boundaries of the, albeit limited, evidence. This investigation has limited itself to the essence of puppetry for individual puppeteers and the essence of their puppet products as they appear to close reading. Future research may follow the phenomenological epoche to investigate the relationship between the essence of live minstrelsy, as an overall field rather than the narrower essence that appears to D’Arc/Bullock, Deaves, or Meader, and the essence of minstrel puppetry. Further investigation may also expand into other categories of representation (such other “ethnic” categories), to determine the extent to which other stereotyped representation embedded itself in the aesthetics of late nineteenth and early twentieth- century puppetry. Moreover, while the goal here has been to look at puppetry, there are many forms of theatre that have been tangentially referenced but not provided the same attention (medicine shows, mask performance). In the end, the hope of every scholar who commits to a project is that the resulting manuscript will contribute to an ongoing conversation. It is clear that there is far more to be said about the relationship of blackface to American puppetry than has been, or even could be, fully explored in a standard dissertation. 242
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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
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Paris’s semiotic choices introduc
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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
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 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: minstrelsy-derived Topsy, as genuin
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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