White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour : William Brown's African and American Theater.
Başlık:
White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour : William Brown's African and American Theater.
Yazar:
McAllister, Marvin.
ISBN:
9780807862605
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 online resource (252 pages)
İçerik:
Contents -- Acknowledgments -- Introduction -- Notes -- 1. Late-Night Pleasure Garden for People of Color: Noah's African Grove -- Whiteface Minstrelsy -- Black Dandys and Dandizettes -- Noah's African Grove? -- Notes -- 2. Hung Be the Heavens with Black: Toward a Minor Theater -- Major or Minor? -- Stage Europeans -- Notes -- 3. American Taste and Genius: Building an American Theater -- The American Theatre -- Indio- and Euro-Constructed Stage Indians -- Staging Native Americas -- Notes -- 4. Tom and Jerry Meets Three-Fingered Jack: The African Company's Balancing Act -- Manhattan's Stage African Vogue -- Stage African Balancing Act: Tom and Jerry and Obi -- Notes -- 5. In Fear of His Opposition: Euro-New York Reacts -- Political Assault: Constitutional Convention of 1821 -- Cultural Assault: Shakespeare Closing of 1822 -- Physical Assault: Summer Riot of 1822 -- Metaphorical Assault: Written, Theatrical, Extratheatrical Blackface -- Notes -- Conclusion: To Be-or Not to Be -- Notes -- Notes -- Bibliography -- Index -- A-B -- C-D -- E-H -- I-M -- N-R -- S-T -- V-Y.
Özet:
In August 1821, William Brown, a free man of color and a retired ship's steward, opened a pleasure garden on Manhattan's West Side. It catered to black New Yorkers, who were barred admittance to whites-only venues offering drama, music, and refreshment. Over the following two years, Brown expanded his enterprises, founding a series of theaters that featured African Americans playing a range of roles unprecedented on the American stage and that drew increasingly integrated audiences. Marvin McAllister explores Brown's pioneering career and reveals how each of Brown's ventures--the African Grove, the Minor Theatre, the American Theatre, and the African Company--explicitly cultivated an intercultural, multiracial environment. He also investigates the negative white reactions, verbal and physical, that led to Brown's managerial retirement in 1823. Brown left his mark on American theater by shaping the careers of his performers and creating new genres of performance. Beyond that legacy, says McAllister, this nearly forgotten theatrical innovator offered a blueprint for a truly inclusive national theater.
Notlar:
Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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