ABSTRACT Title of Dissertation: THE PHENOMENOLOGY OF ...

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effort to adapt his memory of specific experiences to suit his orientalist leanings. Yet there is an enigma present in this puppet orientalism. His view of African Americans amalgamated with the mountebank spirit of his varied performance experiences. From his first day as an independent showman, he determined to personify the pitchman. His wide travels, jobs in medicine shows and circuses, and his cabalistic approach to puppetry’s secrets, as surveyed in the next section, had a profound impact on his notions of the purpose of shows. All contribute to a belief that shows must be innovative rather than richly detailed, and must constantly catch the audience’s eyes and ears, rather than serve up a profound artistic experience. The two apperceptions unite in blackface puppetry that is both crude and clever, manipulating the pecieved, or rather apperceived otherness of the black body for artistic expediency. 81
The Career of David Lano While three generations of the family (Alberto, his son Oliver, and Oliver’s son David) toured both North and South America for nearly one hundred and fifteen years, most of the available evidence details David Lano’s activities from 1884, when he was apprenticed to his grandparents at the age of ten, to 1900, when he settled in Flint, Michigan, working winters in automobile factories and summers with the John Robinson circus. 100 Lano exhibited his marionette shows from Virginia to Utah, from North Dakota to Louisiana, at fairs, schools, seminaries, hotels, Native American reservations, and ranches, independently or in association with circuses, museums, and medicine shows. The puppets presented adaptations of such standard late nineteenth-century texts as: William Tell, Doctor Faustus, The Count of Monte Cristo, Uncle Tom’s Cabin, and, of course, Punch and Judy. Lano learned much from his parents, grandparents, and own professional experiences. He learned to rely on clever, but fairly simple performances. He learned to guard his secrets as might a magician. He learned that formal theatres were troublesome places, where other artists might steal your ideas. The artist’s comprehension of the essence of “puppeteer” is sometimes as useful to understanding a puppeteer’s art as her/his understanding of the essences of specific influences. In Lano’s particular case, the essence of being a career puppeteer was a romantic, nomadic, and, in some ways, cabalistic, life. Like his notion of black culture, 100 Both Lano manuscripts fail to mention the names of Alberto’s “Danish” first wife or “Portugese” second wife, and only vaguely indicate the contributions of any of the Lano wives. As all four Lano spouses, Grandmothers, Mother, and David’s own wife, toured variously with their husbands, their contributions to the art may have been considerable. 82
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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
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: A colored quartet now sang. They we
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
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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
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exclamation; “Oh, my lan’! Now
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Tom. Simon Legree was a puppet base
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event led to a full season of produ
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comic context of their puppet plays
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epresentations of blacks would cont
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impressive, and touted his enterpri
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clearly believes that some other pu
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of the play to connect with African
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its length (see figure 52). Finally
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O’Neill’s take on Henri Christo
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audiences, then goes on to suggest
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Chesse’s reading of Brutus was th
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meticulous artistic strokes then, c
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Many of the lost objects may have b
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sketches would be well-served by th
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The FTP production of Little Black
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transmitted to, and circulated with
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Conclusion: Phenomenology, Authenti
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the essence of less grotesque black
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used them in plays where puppets ce
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minstrelsy-derived Topsy, as genuin
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productions featuring blackface cha
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_. Race and Ethnic Relations. 3 rd
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Durham, Weldon B. ed. American Thea
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Hill, Errol. Shakespeare in Sable:
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Mahar, William J. Behind the Burnt
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Powell, Herbert Preston. The World'
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Spurling, Laurie. Phenomenology and
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