Theatre
Arts 240
TOPICS
IN THEATRE HISTORY:
Blackface,
Yellowface, Redface, Jewface:
Theatrical
Representations of ÒOthers.Ó
Professor
Mazer
Spring
2014
519
Annenberg Center, 3-2659; cmazer@english.upenn.edu
Office
Hours: Tuesdays and Thursdays,
1:30-2:30; and by appointment
January
16: Introduction
January
21: Early Modern Othering:
Christopher
Marlowe, The Jew of Malta (downloadable as html text on Canvas)
January
23: William Shakespeare, The
Merchant of Venice (choose your own text).
January
28: Shakespeare, Othello
(choose your own text); Ben Jonson, The Masque of Queens (Canvas); Kim
F. Hall, ÒSexual Politics and Cultural Identity in The Masque of BlacknessÓ
(Canvas).
January
30: Old World/New World:
Thomas
Southerne, Oroonoko
(Canvas); Joseph R. Roach, ÒIntroduction: History, Memory, and Performance,Ó from Cities
of the Dead: Circum-Atlantic
Performance (Canvas).
Feburary
4: Richard Brinsley
Sheridan, Pizarro (Canvas).
February
6: Race, America, Romanticism, and
Melodrama:
John
Augustus Stone, Metamora, or the Last of the Wampanoags
(Canvas); Jeffrey D. Mason, ÒMetamora and the ÔIndianÕ Question,Ó in Melodrama
and the Myth of America (Canvas).
February
11: The African Company and Ira
Aldridge:
Errol
Hill, ÒShakespeare and the Black ActorÓ (partial), and ÒInvoluntary ExilesÓ
(partial), from Shakespeare in Sable:
A History of Black Shakespearean Actors (Canvas); Tracy C. Davis,
ÒActing Black, 1824: Charles Mathews's Trip to
America (Canvas).
February
13: George Aiken, Uncle Tom's
Cabin (in Jeffrey Richards, Early American Drama);
Jeffrey D. Mason, ÒUncle TomÕs Cabin and the Politics of Race,Ó in Melodrama
and the Myth of America (Canvas).
February
18: Dion Boucicault, The
Octoroon (in Richards); Joseph R. Roach, ÒSlave Spectacles and Tragic
Octoroons: A Cultural Genealogy of
Antebellum PerformanceÓ (Canvas);
February
2): meeting in the library with
Samantha Barry: research resources
in theatre and performnace.
February
25: Mintrelsy:
Eric
Lott, ÒLove and Theft: The Racial
Unconscious of Blackface Minstrelsy,Ó (Canvas); Minstrel sketches: ÒOh, Hush! or,
The Virginny Cupids,Ó ÒDesdemonum,Ó
ÒOthello,Ó and ÒShylockÓ (Canvas).
February
27: Wild West Shows:
John
G. Blair, ÒBlackface Minstrels and Buffalo Bill's Wild West: Nineteenth-Century
Entertainment Forms as Cultural Exports,Ó in John Dean and Jean-Paul Gabilliet, eds., European
Readings of American Popular Culture (Canvas); Rosemary K. Bank,
ÒRepresenting History: Performing
the Columbian Exposition,Ó Theatre Journal 54 (2002) 589-606 (Canvas).
March
4: Victorian Japonaiserie:
W.S.
Gilbert and Sir Arthur Sullivan, The Mikado (Canvas); (Recording on
reserve in the Ormandy Listening Room); Josephine Lee, ÒMeditations on The
MikadoÓ and ÒMy Objects all Sublime,Ó from The
Japan of Pure Invention: Gilbert
and SullivanÕs The Mikado (Canvas).
[Approximate
due date: first take-home
assignment]
March
6: Jewface:
Harley
Erdman, ÒMaking the Jewish Villain Visible: American Approaches to Shylocks and Sheenies,Ó and ÒTaming the Exotic Jewess: The Rise and Fall
of the ÔBelle Juive,ÕÓ from Staging the Jew: The Performance of an American Ethnicity
1860-1920 (Canvas).
[Spring
break]
March
18: Black and Jewish Blackface:
Camille
F. Forbes, ÒDancing with ÔRacial FeetÕ:
Bert Williams and the Performance of Blackness,Ó (Canvas); Samson Raphaelson, The Jazz Singer (Canvas); The Jazz
Singer (1927; DVD on reserve in Rosengarten).
March
20: Race and Theatrical Modernism:
Eugene OÕNeill, The Emperor Jones; The
Emperor Jones (DVD on reserve in Rosengarten, and
streaming on Canvas). (Make sure your read the play before you
see the film version.)
March
25: Race, History, and Show
Business:
Listen
to EMI recording of
Jerome Kern and Oscar Hammerstein, Showboat (On reserve in
the Ormandy Listening Room); film version (1936; DVD on reserve in Rosengarten, and streaming on Canvas); Scott McMillan,
ÒPaul Robeson, Will VoderyÕs ÔJubilee Singers,Õ and
the Earliest Script of the Kern-Hammerstein ShowboatÓ (Canvas).
[POSSIBLE
THEATREGOING TRIP: Tricycle
Theatre, Red Velvet, by Lolita Chakrabarti,
St. AnnÕs Warehouse, Brooklyn, March 25-April 20.]
March
27: Broadway orientalism:
Josephine
Lee, ÒÔAnd Others of His RaceÕ:
Blackface and Yellowface,Ó from The Japan
of Pure Invention (Canvas); Bruce McConachie,
ÒThe ÔOrientalÕ Musicals of Rogers and Hammerstein and the U.S. War in
Southeast AsiaÓ (Canvas); film version of Flower Drum Song (1961; DVD on
reserve in Rosengarten).
[Approximate
due date: second take-home
assignment]
April
1: Non-Traditional Casting:
Angela
Pao, ÒRecasting Race: Casting Practices and Racial
FormationsÓ (Canvas);
Articles from the New York Times about the Miss Saigon
casting controversy (Canvas: read
in chronological order); Pao, ÒThe Eyes of the
Storm: Gender, Genre, and
Cross-Casting in Miss SaigonÓ (Canvas)
April
3: The Wilson/Brustein
Debates:
August
Wilson, ÒThe Ground On Which I Stand,Ó American Theatre, September,
1996 (Canvas); Robert Brustein, ÒSubsidized
Separatism,Ó American Theatre, October, 1996. Stephen Nunns,
ÒWilson, Brustein, and The Press,Ó American
Theatre,
March, 1997 (Canvas); ÒBeyond the Wilson-Brustein
Debates,Ó Theatre 27:2-3 (1997), pp. 5-41 (Canvas) Brandi Wilkins Catanese,
ÒThe End of Race and the End of Blackness?
August Wilson, Robert Brustein, and
Color-Blind Casting,Ó from The Problem of the Color[blind]: Racial Transgression and the Politics of
Black Performance (Canvas).
April
8: Performing Identities:
Anna
Deavere Smith, Fires in the Mirror; film
version (on reserve in Rosengarten); ÒAnna Deavere Smith:
the Word Becomes You,Ó an interview by Carol Martin (Canvas); Debby
Thompson, ÒÔIs Race a Trope?Õ: Anna Deavere
Smith and the Question of Racial Performativity,Ó (Canvas).
April
10: [TBA]
April
15: Postmodern Blackface: The Wooster Group:
Aoife
Monks, ÒGenuine Negroes and Real BloodhoundsÓ: Cross-Dressing, Eugene O'Neill, the
Wooster Group, and The Emperor Jones,Ó (Canvas); David Salle and Sarah
French, ÒKate Valk,Ó BOMB Magazine, Issue 100,
Summer 2007 (at http://www.bombsite.com/issues/100/articles/2920; link on
Canvas).
April
17: Redressing Yellowface:
David
Henry Hwang, Yellow Face and Flower Drum Song.
April
22: ÒColorblindÓ Shakespeare:
Ayanna
Thompson, ÒPracticing a Theory/Theorizing a Practice: An Introduction to Shakespearean
Colorblind Casting,Ó and Peter Erickson, ÒAfterword: the Blind Site of Colorblind Casting,Ó in Ayanna Thompson, ed., Colorblind Shakespeare: New Perspectives on Race and Performance
(Canvas).
April
24: Individual reports on
Ònon-traditional,Ó Òcolorblind,Ó multi-ethnic, and/or racially coded
Shakespeare productions, e.g. .
April
29 Catch-up
and conclusions.
There
will be TWO take-home essay assignments, ONE in-class presentation (on April
24), plus ONE final research project, due at a date to be announced, on a topic
that must MUST BE APPROVED IN ADVANCE. Attendance in class is crucial; CHRONIC
ABSENCE OR LATENESS WILL BE COUNTED AGAINST YOU.
The
following books can be purchased at the Penn Book Center, 34th and Sansom Sts.:
Jeffrey
Richards, Early American Drama
Eugene
OÕNeill, Four Plays
Anna
Deavere Smith, Fires in the Mirror
David
Henry Hwang, Flower Drum Song
David
Henry Hwang, Yellowface
The
listserv for this course is THAR240-401-14a@lists.upenn.edu. Several electronic scripts
, articles, and links to videos are available on the Canvas website, to
which you have been automatically subscribed.
The
syllabus for this course is available at
http://www.english.upenn.edu/~mazer/240sp14.htm.