ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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Merten, George. The Marionette. Toronto: Thomas Nelson and Sons, 1957. Miller, George B., Janet S. Harris, and William Hannaford Jr. Puppetry Library: An Annotated Bibliography Based on the Batchelder-McPharlin Collection at the University of New Mexico. Wesport, CT: Greenwood Press, 1972. Minstrel Gags and End Men's Handbook. Reprinted Edition. Upper Saddle River, NJ: Literature House/Gregg Press, 1969. Morrison, Toni. Playing in the Dark: Whiteness and the Literary Imagination. New York: Random House, 1992. Munger, Martha Perrine. The Book of Puppets. Boston: Lothrop, Lee, and Shepard Company, 1934. Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman: University of Oklahoma Press, 1962. Oberfirst, Robert. Al Jolson: You ain't Heard nothin' Yet. San Diego: A.S. Barnes, 1980. O’Connor, John and Lorraine Brown, eds. “Free, Adult, Uncensored,” The Living History of the Federal Theatre Project. London: Eyre Methuen, 1980. O’Neill, Eugene. Penguin Plays: Eugene O’Neill. Edited by E. Martin Browne. Harmondsworth, England: Penguin Books, 1968. Packard, Jerrold M. American Nightmare: The History of Jim Crow. New York: St. Martin's Press, 2002. Paskman, Dailey and Sigmund Spaeth. Gentlemen, be Seated! A Parade of the Old-Time Minstrels. Revised Edition. New York: Clarkson N. Potter, 1976. Peavy, Zella M. The Use and Evaluation of Puppets as a Medium of Classroom Activity in the Elementary School. Thesis (M.A.). Austin: Southwest Texas State University, 1952. Phillips, John. “D’Arc’s in Dublin.” Theatre Notebook 48 (1994): 16-35. _. “The Origin and Progress of W. J. Bullock’s Royal Marionettes,” Puppetry Yearbook 4 (1998): 144-49. Philpot, A. R. Dictionary of Puppetry. Boston: Plays Inc., 1969. Pindar, Kimberly N. Race-Ing Art History. New York: Routledge, 2002. 251
Powell, Herbert Preston. The World's Best Book of Minstrelsy. Philadelphia: Herbert Preston Powell, 1926. Puppetry in the Curriculum: A Manual on Puppets, Marionettes, Shadow Figures, and Masks for the Junior and High School Years. New York: New York Board of Education, 1954. Reesman, Jeanne Campbell. Trickster Lives: Culture and Myth in American Fiction. Athens: University of Georgia, 2001. Reuter, Edward Byron. The American Race Problem. 3 rd edition. Revised by Jitsuichi Masuoka. New York: Thomas V. Crowell, 1970. _. Race and Culture Contacts. New York: McGraw Hill, 1934. Rice, Edward LeRoy. Monarchs of Minstrelsy: From "Daddy" Rice to Date. New York: Edward LeRoy Rice, 1911. Rice, Thomas Dartmouth. Jump Jim Crow: Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture. Edited by William T. Lahmon Jr. Cambridge: Harvard University Press, 1835/2003. _. Life of Jim Crow, Showing how he got his Inspiration as a Poet. Philadelphia: T.D. Rice, 1835/1837. Riis, Thomas L. Just Before Jazz: Black Musical Theater in New York, 1890-1915. Washington: Smithsonian Press, 1989. _. The Rise of Black Musical Theatre at the Turn of the Century. New York: Institute for Studies in American Music, 1992. Roediger, David R. The Wages of Whiteness: Race and the Making of the American Working Class. London: Verso, 1991. Rogin, Michael. Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot. Berkeley: University of California, 1996. Rosenberg, James N. Punchinello: A Ballet. New York: Mitchell Kennerley, 1924. Royce, Anya Peterson. Ethnic Identity: Strategies of Diversity. Bloomington: Indiana University Press, 1982. Roysdon, Douglas. Puppetry: Opportunities for Success. Harrisburg: Arts in Special Education Project of Pennsylvania, 1979. 252
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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
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Munger also introduced a range of a
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minstrelsy. They would also permit
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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 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: Mahar, William J. Behind the Burnt
Page 261 and 262: Spurling, Laurie. Phenomenology and
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