ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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puppetry can support either highbrow art or lowbrow farce, but there are special rules for each type of work. The grotesque minstrel is a lowbrow fool, a “golliwog” appropriate to farce. The “negroes” of more exotic or, as he imagines it, “authentic” works are highbrow dramatic characters, fully realized characters appropriate to rich works of puppet drama. This categorical distinction became a leitmotif for the aesthetics puppetry in the early 1900s. The fourth chapter details the blackface work of four important American puppeteers, of the 1910s, 20s, and 30s: Tony Sarg, Susan Hastings, Remo Bufano, and Forman Brown. These puppeteers participated more regularly in blackface puppetry than McPharlin, but like the latter, did not dedicate the majority of their repertoire to these types of productions. The fifth chapter looks at a number of puppeteers in this period that did base their careers mainly on productions such as Little Black Sambo, Uncle Tom’s Cabin, or the “Brer Rabbit” stories, including: Edith Carter, Marion Flexner, Lenore Hetrick, and Antonio deLeon Richardson. In the sixth chapter, the author examines the works of the Federal Theatre Project’s marionette units. The FTP included the single recorded production of a puppet minstrel show entirely by a group of African American puppeteers. The categories of highbrow/lowbrow play upon the aesthetics of this multitude of American puppeteers in complicated ways. Some, like Hastings, circulate an unnuanced reflection of its consequences. For Hastings, the essence of the blackface puppet is clown. Local blackface images have no place in serious puppet drama. Others, such as Richardson or Brown, use the humorous qualities of the “Negro” to challenge racism in the United States. For them, blackface puppets should be realistically detailed portraits 19
of the African American race, and should perform in narratives that thematically assault the then subordinate postion of the people they represent. For still others, such as Bufano and Chesse’, the blackface puppet is a canvas on which highbrow art can be painted. The conclusion reviews the general thoughts of the specific chapters, identifying the major characteristics of the eidos of blackface puppetry throughout the sixty-seven- year period. While it is impossible for an investigation of this nature to successfully encompass all issues of racial representation between 1872 and 1939, it is possible for such an investigation to detail much about the variety of essences of racial representation in puppet theatre. 20
Page 1 and 2: ABSTRACT Title of Dissertation: THE
Page 3 and 4: THE PHENOMENOLOGY OF RACIALISM: BLA
Page 5 and 6: Dedication This dissertation is ded
Page 7 and 8: Table of Contents Dedication.......
Page 9 and 10: House and the Brooklyn Academy of M
Page 11 and 12: Bert O’States expands on the meth
Page 13 and 14: previous related performances, are
Page 15 and 16: “blackface” as counterfeit perf
Page 17 and 18: demands of this transcendent notion
Page 19 and 20: To manage such an investigation, th
Page 21 and 22: a celebration of superiority. 20 Th
Page 23 and 24: playbill, minstrel show script, con
Page 25: Lano fancies himself an advocate of
Page 29 and 30: in creating the first connection be
Page 31 and 32: In order to explain the interaction
Page 33 and 34: performance. 29 Marionette minstrel
Page 35 and 36: Nonetheless, it maintains the criss
Page 37 and 38: 3), into more complex types. By the
Page 39 and 40: from the head and leg strings, can
Page 41 and 42: leased Queen’s Hall in Liverpool
Page 43 and 44: effectively capture the nonlinear p
Page 45 and 46: other puppet, is not slack and seem
Page 47 and 48: was already showing considerable ar
Page 49 and 50: The Marionettes in Performance The
Page 51 and 52: of an aged former slave who has esc
Page 53 and 54: The criminal acts and dishonesty de
Page 55 and 56: Antislavery songs in a marionette p
Page 57 and 58: e useful to compare the joke exchan
Page 59 and 60: the figure, once “folded up prepa
Page 61 and 62: eginning with a wide variety of mar
Page 63 and 64: Christy Minstrels, with their reper
Page 65 and 66: Walter E. Deaves Edwin Deaves, Walt
Page 67 and 68: some images of minstrel players (re
Page 69 and 70: Yet, one cannot easily reduce the s
Page 71 and 72: Daniel Meader Sometime after 1874,
Page 73 and 74: lackface makeup, rather than authen
Page 75 and 76: figure 12. His hair is slightly hig
Page 77 and 78:
puppets for the last time, he may s
Page 79 and 80:
The Meader Uncle Tom suggests the e
Page 81 and 82:
Chapter III: David Lano The Essence
Page 83 and 84:
lackface characters for ridicule; h
Page 85 and 86:
doctor. Lano then depicts the black
Page 87 and 88:
A colored quartet now sang. They we
Page 89 and 90:
The Career of David Lano While thre
Page 91 and 92:
Lano’s solo career. One of the la
Page 93 and 94:
human oddities. Like many of its ki
Page 95 and 96:
“continually transforms necessity
Page 97 and 98:
David Lano’s Work Lano’s extant
Page 99 and 100:
such as the kakunga of the Suku peo
Page 101 and 102:
The clothes are a curious blend of
Page 103 and 104:
the age of ten, he presented his ow
Page 105 and 106:
Punch murdering the Servant. Lano c
Page 107 and 108:
form by introducing sentimental mus
Page 109 and 110:
creation on the basis of active mot
Page 111 and 112:
divided between the “Sambo” and
Page 113 and 114:
Though they share in the appercepti
Page 115 and 116:
mild embarrassment on his use of Ji
Page 117 and 118:
“The marionette can be anything o
Page 119 and 120:
he [can] find them.” 147 Calthrop
Page 121 and 122:
of the Moor, who is, though still m
Page 123 and 124:
slanted and sharp, the nostrils are
Page 125 and 126:
perhaps the beginning puppeteer, wh
Page 127 and 128:
taken it from playwright Tsou Ku Ch
Page 129 and 130:
figure, who dismisses his complaint
Page 131 and 132:
Thus, the structure of the play pre
Page 133 and 134:
Chapter V: The Majors The major pup
Page 135 and 136:
Bedchamber.” 165 Sarg described:
Page 137 and 138:
Critics and fellow puppeteers prais
Page 139 and 140:
Sarg and Blackface Though Sarg neve
Page 141 and 142:
“Skin me, Brer Fox,” sez Brer R
Page 143 and 144:
possibilities of puppetry led him t
Page 145 and 146:
was common with the so-called “To
Page 147 and 148:
present his particular imaginations
Page 149 and 150:
herself in need of independent econ
Page 151 and 152:
The Essence of Puppetry for Sue Has
Page 153 and 154:
the head to the right and left, to
Page 155 and 156:
art,” and “a descendent of the
Page 157 and 158:
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 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 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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