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Performance, Race, and Sexuality in the Harlem Renaissance
James F. Wilson uncovers fascinating new material on the Harlem Renaissance, shedding light on the oft-forgotten gay and lesbian contributions to the era's creativity and Civil Rights. Extremely well researched, compellingly written, and highly informative. ---David Krasner, author of A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1927 Bulldaggers, Pansies, and Chocolate Babies shines the spotlight on historically neglected plays and performances that challenged early twentieth-century notions of the stratification of race, gender, class, and sexual orientation. On Broadway stages, in Harlem nightclubs and dance halls, and within private homes sponsoring rent parties, African American performers of the 1920s and early 1930s teased the limits of white middle-class morality. Blues-singing lesbians, popularly known as "bulldaggers," performed bawdy songs; cross-dressing men vied for the top prizes in lavish drag balls; and black and white women flaunted their sexuality in scandalous melodramas and musical revues. Race leaders, preachers, and theater critics spoke out against these performances that threatened to undermine social and political progress, but to no avail: mainstream audiences could not get enough of the riotous entertainment. Many of the plays and performances explored here, central to the cultural debates of their time, had been previously overlooked by theater historians. Among the performances discussed are David Belasco's controversial production of Edward Sheldon and Charles MacArthur's Lulu Belle (1926), with its raucous, libidinous view of Harlem. The title character, as performed by a white woman in blackface, became a symbol of defiance for the gay subculture and was simultaneously held up as a symbol of supposedly immoral black women. African Americans Florence Mills and Ethel Waters, two of the most famous performers of the 1920s, countered the Lulu Belle stereotype in written statements and through parody, thereby reflecting the powerful effect this fictional character had on the popular imagination. Bulldaggers, Pansies, and Chocolate Babies is based on historical archival research including readings of eyewitness accounts, newspaper reports, songs, and playscripts. Employing a cultural studies framework that incorporates queer and critical race theory, it argues against the widely held belief that the stereotypical forms of black, lesbian, and gay show business of the 1920s prohibited the emergence of distinctive new voices. Specialists in American studies, performance studies, African American studies, and gay and lesbian studies will find the book appealing, as will general readers interested in the vivid personalities and performances of the singers and actors introduced in the book. James F. Wilson is Professor of English and Theatre at LaGuardia Community College and the Graduate Center of the City University of New York.
Vol. 1 (1949) through current issue
Founded in 1948 by Everett W. Hesse, Bulletin of the Comediantes is published semiannually by the Comediantes, an international group of scholars interested in early modern Hispanic theater. The Bulletin welcomes articles and notes in Spanish and English dealing with sixteenth- and seventeenth-century peninsular and colonial Latin American drama. Submissions are refereed by at least two specialists in the field. Since 2011, the journal has been published by the Department of Spanish and Portuguese at San Diego State University.
Honor, Vengeance, and Love in Four Plays of the 18th and 19th Centuries
The four plays presented here—“Moritsuna’s Camp,” “The Mountains Scene,” “Vengeance at Iga Pass,” “The True Tale of Asagao”—were first performed between 1769 and 1832, a time when the Japanese puppet theatre known as Bunraku was beginning to lose its pre-eminence to Kabuki. During this period, however, several important puppet plays were created that went on to become standards in both the Bunraku and Kabuki repertoires; three are found in this volume. This span of some sixty-odd years was also a formative one in the development of how plays were presented, an important feature in the modern staging of works from the traditional plebeian theatre. Only a handful of complete and uncut plays—often as much as ten hours long—are produced in Bunraku or Kabuki nowadays. Included here is one of these. There are also two examples of the much more common practice of staging a single popular act or scene from a much longer drama that itself is seldom, if ever, performed in its entirety today.
Kabuki, while better known outside Japan, has been a great beneficiary of the puppet theatre, borrowing perhaps as much as half of its body of work from Bunraku dramas. Bunraku, in turn, has raided the Kabuki repertoire but to a far more modest degree. The fourth play in this collection, “Asagao,” is an instance of this uncommon reverse borrowing. Moreover, it is an example of yet another way in which some plays have come to be presented: a coherent subplot of a longer work that gained an independent theatrical existence while its parent drama has since disappeared from the stage. These later eighteenth-century works display a continued development toward greater attention to the theatrical features of puppet plays as opposed to the earlier, more literary approach found most notably in the dramas of Chikamatsu Monzaemon (d. 1725).
Newly translated and illustrated for the general reader and the specialist, the plays in this volume are accompanied by informative introductions, extensive notes on stage action, and discussions of the various changes that Bunraku underwent, particularly in the latter half of the eighteenth century, its golden age. Because many of the features we see in Bunraku plays today owe their origins largely to the changes the theatre experienced more than two centuries ago, this volume will be a valuable reference for those interested in contemporary Japanese theatre as well as its historical antecedents.
Traditions and Legacies of Blackface Minstrelsy
Beginning in the 1830s and continuing for more than a century, blackface minstrelsy—stage performances that claimed to represent the culture of black Americans—remained arguably the most popular entertainment in North America. A renewed scholarly interest in this contentious form of entertainment has produced studies treating a range of issues: its contradictory depictions of class, race, and gender; its role in the development of racial stereotyping; and its legacy in humor, dance, and music, and in live performance, film, and television. The style and substance of minstrelsy persist in popular music, tap and hip-hop dance, the language of the standup comic, and everyday rituals of contemporary culture. The blackface makeup all but disappeared for a time, though its influence never diminished—and recently, even the makeup has been making a comeback. This collection of original essays brings together a group of prominent scholars of blackface performance to reflect on this complex and troublesome tradition. Essays consider the early relationship of the blackface performer with American politics and the antislavery movement; the relationship of minstrels to the commonplace compromises of the touring “show” business and to the mechanization of the industrial revolution; the exploration and exploitation of blackface in the mass media, by D. W. Griffith and Spike Lee, in early sound animation, and in reality television; and the recent reappropriation of the form at home and abroad. In addition to the editor, contributors include Dale Cockrell, Catherine Cole, Louis Chude-Sokei, W. T. Lhamon, Alice Maurice, Nicholas Sammond, and Linda Williams.
Metamorphic Dance and Global Alchemy
Both a refraction of the bombings of Hiroshima and Nagasaki and a protest against Western values, butoh is a form of Japanese dance theater that emerged in the aftermath of World War II. Sondra Fraleigh chronicles the growth of this provocative art form from its midcentury founding under a sign of darkness to its assimilation in the twenty-first century as a poignant performance medium with philosophical and political implications. Employing intellectual and aesthetic perspectives to reveal the origins, major figures, and international development of the dance, Fraleigh documents the range and variety of butoh artists around the world with first-hand knowledge of butoh performances from 1973 to 2008.
The Life and Art of Busby Berkeley
Characterized by grandiose song-and-dance numbers featuring ornate geometric patterns and mimicked in many modern films, Busby Berkeley’s unique artistry is as recognizable and striking as ever. From his years on Broadway to the director’s chair, Berkeley is notorious for his inventiveness and signature style. Through sensational films like 42nd Street (1933), Gold Diggers of 1933 (1933), Footlight Parade (1933), and Dames (1934), Berkeley sought to distract audiences from the troubles of the Great Depression. Although his bold technique is familiar to millions of moviegoers, Berkeley’s life remains a mystery. Buzz: The Life and Art of Busby Berkeley is a telling portrait of the filmmaker who revolutionized the musical and changed the world of choreography. Berkeley pioneered many conventions still in use today, including the famous “parade of faces” technique, which lends an identity to each anonymous performer in a close-up. Carefully arranging dancers in complex and beautiful formations, Berkeley captured perspectives never seen before. Jeffrey Spivak’s meticulous research magnifies the career and personal life of this beloved filmmaker. Employing personal letters, interviews, studio memoranda, and Berkeley’s private memoirs, Spivak unveils the colorful life of one of cinema’s greatest artists.
Issue 141 (2010) through current issue
Canadian Theatre Review is the major magazine of record for Canadian theatre. It is committed to excellence in the critical analysis and innovative coverage of current developments in Canadian theatre, to advocating new issues and artists, and to publishing at least one significant new playscript per issue. The editorial board is committed to CTR's practice of theme issues that present multi-faceted and in-depth examinations of the emerging issues of the day and to expanding the practice of criticism in Canadian theatre and to the development of new voices.
The Director Who Made Hollywood Dance
From the trolley scene in Meet Me in St. Louis (1944) to Fred Astaire and Ginger Rogers's last dance on the silver screen (The Barkleys of Broadway, 1949) to Judy Garland's timeless, tuxedo-clad performance of "Get Happy" (Summer Stock, 1950), Charles Walters staged the iconic musical sequences of Hollywood's golden age. During his career, this Academy Award--nominated director and choreographer showcased the talents of stars such as Gene Kelly, Doris Day, Debbie Reynolds, and Frank Sinatra. However, despite his many critical and commercial triumphs, Walters's name often goes unrecognized today.
In the first full-length biography of Walters, Brent Phillips chronicles the artist's career, from his days as a featured Broadway performer and protégé of theater legend Robert Alton to his successes at Metro-Goldwyn-Mayer. He takes readers behind the scenes of many of the studio's most beloved musicals, including Easter Parade (1948), Lili (1953), High Society (1956), and The Unsinkable Molly Brown (1964). In addition, Phillips recounts Walters's associations with Lucille Ball, Joan Crawford, and Gloria Swanson, examines the director's uncredited work on several films, including the blockbuster Gigi (1958), and discusses his contributions to musical theater and American popular culture.
This revealing book also considers Walters's personal life and explores how he navigated the industry as an openly gay man. Drawing on unpublished oral histories, correspondence, and new interviews, this biography offers an entertaining and important new look at an exciting era in Hollywood history.
The Actor's Craft
Chinese opera embraces over 360 different styles of theatre that make one of the richest performance arts in the world. It combines music, speech, poetry, mime, acrobatics, stage fighting, vivid face-painting and exquisite costumes. First experiences of Chinese opera can be baffling because its vocabulary of stagecraft is familiar only to the seasoned aficionado. Chinese Opera: The Actor’s Craft makes the experience more accessible for everyone. This book uses breath-taking images of Chinese opera in performance by Hong Kong photographer Siu Wang-Ngai to illustrate and explain Chinese opera stage technique. The book explores costumes, gestures, mime, acrobatics, props and stage techniques. Each explanation is accompanied by an example of its use in an opera and is illustrated by in-performance photographs. Chinese Opera: The Actor’s Craft provides the reader with a basic grammar for understanding uniquely Chinese solutions to staging drama.