ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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Carlyon, David. Dan Rice: The Most Famous Man You’ve Never Heard of. New York: Public Affairs, 2001. Carter, Susan and Eda Carter Williams. A Joke on the Sun: A Marionette Play in Four Scenes. New York: Samuel French 1934. Cerniglia, Kenneth. Becoming American: A Critical History of Ethnicity in Popular Theatre, 1849-1924. Ph.D. diss. University of Washington, 2001. Chesse’, Ralph. The Marionette Actor. Fairfax: George Mason University, 1987. Chestnutt, Charles W. To be an Author: Letters of Charles W. Chestnutt, 1889-1905. Edited by Joseph R. McErath, Jr. and Robert C. Leitz III. Princeton: Princeton University Press, 1997. Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and their World. New York: Cambridge University Press, 1997. Connelly, Marc. Little David. New York: Dramatists Play Service, 1937. Conrad, Earl. The Invention of the Negro. New York: Paul S. Eriksson, 1947. Courtright, William. The Complete Minstrel Guide. Chicago: The Dramatic Publishing Company, 1901. Craig, Edward Gordon. On the Art of the Theatre. Chicago: Browne's Bookstore, 1912. Craig, E. Quita. Black Drama of the Federal Theatre Era: Beyond the Formal Horizons. Amherst: University of Massachusetts, 1980. Crothers, J. Frances. The Puppeteer’s Library Guide: A Bibliographic Index to the Literature of the World Puppet Theatre. Vol. 1. Metuchen, NJ: Scarecrow Press, 1971. Cullen, Jim. The Art of Democracy: A Concise History of Popular Culture in the United States. New York: Monthly Review Press, 1996. Currell, David. The Complete Book of Puppetry. London: A& C Black, 1985. Day, Charles H. Fun in Black. New York: Charles H. Day, 1874. Davis, F. James. Who is Black? One Nation's Definition. University Park, PA: Penn State University Press, 1991. De Croissant, Francis. Our Puppet Show: From a Dramatists Workshop. New York: Harper & Brothers, 1929. 245
Durham, Weldon B. ed. American Theatre Companies 1888-1930. New York: Greenwood Press, 1987. Engle, Gary D. This Grotesque Essence: Plays from the American Minstrel Stage. Baton Rouge: Louisiana State University, 1978. Fisher, Judith L. and Stephen Watt, eds. When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre. Athens: University of Georgia, 1989. Fletcher, Ifan Kyrle and Arnold Rood. Edward Gordon Craig: A Bibliography. London: The Society for Theatre Research, 1967. Flexner, Marion, Alice Cane, and Dorothy Park Clark. Hand Puppets: A Practical Manual for Teachers and Children. New York: Samuel French, 1935. Fraden, Rena. Blueprints for a Black Federal Theatre, 1935-1939. New York: Cambridge University Press, 1994. French, Jill and Robert, with Owen Shelly. Puppet Drama: A complete Illustrated Guide. Flemington Markets, Australia: ANZEA, 1991. Friedman, Kinky. A Case of Lone Star. New York: Beechtree Books, 1987. Gaines, Francis Pendleton. The Southern Plantation: A Study in the Development and Accuracy of a Tradition. New York: Francis Pendleton Gaines, 1925. Garner, Stanton B. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Ithaca: Cornell University Press, 1994. Gates, Henry Louis. Figures in Black: Words, Signs, and the “Racial” Self. New York: Oxford University Press, 1987. _. The Signifying Monkey: A Theory of Afro-American Literary Criticism. New York: Oxford, 1988. _, ed. "Race," Writing, and Difference. Chicago: University of Chicago Press, 1994. Gilroy, Paul. Against Race. Cambridge: Harvard University Press, 2000. Goings, Kenneth. Mammy and Uncle Mose: Black American Collectibles and American Stereotyping. Bloomington: Indiana University Press, 1994. Gossett, Thomas F. Race: The History of an Idea in America. Dallas: Southern Methodist University, 1975. 246
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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
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slips away with his clothes. The ti
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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 and 248: minstrelsy-derived Topsy, as genuin
Page 249 and 250: productions featuring blackface cha
Page 251: _. Race and Ethnic Relations. 3 rd
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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