Racing the Great White Way
The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting A...
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| Päätekijä: | |
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| Aineistotyyppi: | Online |
| Kieli: | englanti |
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University of Michigan Press
2023
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| Aiheet: | |
| Linkit: | OCN: 1374246442 |
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| _version_ | 1869520946169118720 |
|---|---|
| author | Johnson, Katie N. |
| author_browse | Johnson, Katie N. |
| author_facet | Johnson, Katie N. |
| author_sort | Johnson, Katie N. |
| collection | Directory of Open Access Books |
| description | The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism--theater artists of color have used O’Neill’s texts to raze barriers in American and transatlantic theater.
Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie N. Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O’Neill’s plays such as The Emperor Jones and All God’s Chillun Got Wings make ideal case studies because of the way these works stimulated traffic between Broadway and Harlem—and between white and Black America. These investigations of O’Neill and Broadway productions are enriched by the vibrant transnational exchange found in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic. |
| format | Online |
| id | doab-20.500.12854ir-107882 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| publisher | University of Michigan Press |
| publisherStr | University of Michigan Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1078822025-07-17T10:01:21Z Racing the Great White Way Johnson, Katie N. Eugene O’Neill, Paul Robeson, American theater, Harlem Renaissance, Emperor Jones, All God’s Chillun Got Wings, African American performance, American film, African American film, Charles Gilpin, Dudley Murphy, Habib Benglia, diasporia, postcolonial performance, breaking color lines, Jules Bledsoe, blackface, Metropolitan Opera, transnational theater thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production The early drama of Eugene O’Neill, with its emphasis on racial themes and conflicts, opened up extraordinary opportunities for Black performers to challenge racist structures in modern theater and cinema. By adapting O’Neill’s dramatic writing—changing scripts to omit offensive epithets, inserting African American music and dance, or including citations of Black internationalism--theater artists of color have used O’Neill’s texts to raze barriers in American and transatlantic theater. Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early 20th century, author Katie N. Johnson reveals a far more complex system of exchanges between the Broadway establishment and a vibrant Black theater scene in New York and beyond to chart a new history of American and transnational theater. In spite of their dichotomous (and at times problematic) representation of Blackness, O’Neill’s plays such as The Emperor Jones and All God’s Chillun Got Wings make ideal case studies because of the way these works stimulated traffic between Broadway and Harlem—and between white and Black America. These investigations of O’Neill and Broadway productions are enriched by the vibrant transnational exchange found in early to mid-20th century artistic production. Anchored in archival research, Racing the Great White Way recovers not only vital lost performance histories, but also the layered contexts for performing bodies across the Black Atlantic and the Circum-Atlantic. 2023-07-26T19:29:29Z 2023-07-26T19:29:29Z 2023-07-20T12:36:03Z 2023 book OCN: 1374246442 https://library.oapen.org/handle/20.500.12657/64040 9780472075782 9780472055784 https://directory.doabooks.org/handle/20.500.12854/107882 eng Theater: Theory/Text/Performance open access image/jpeg image/jpeg image/jpeg image/jpeg Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International https://library.oapen.org/bitstream/20.500.12657/64040/1/9780472903603.pdf https://library.oapen.org/bitstream/20.500.12657/64040/1/9780472903603.pdf https://library.oapen.org/bitstream/20.500.12657/64040/1/9780472903603.pdf https://library.oapen.org/bitstream/20.500.12657/64040/1/9780472903603.pdf University of Michigan Press 10.3998/mpub.12340544 10.3998/mpub.12340544 b7359529-e5f7-4510-a59f-d7dafa1d4d17 National Endowment for the Humanities 0314e571-4102-4526-b014-3ed8f2d6750a 9780472075782 9780472055784 270 open access |
| spellingShingle | Eugene O’Neill, Paul Robeson, American theater, Harlem Renaissance, Emperor Jones, All God’s Chillun Got Wings, African American performance, American film, African American film, Charles Gilpin, Dudley Murphy, Habib Benglia, diasporia, postcolonial performance, breaking color lines, Jules Bledsoe, blackface, Metropolitan Opera, transnational theater thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production Johnson, Katie N. Racing the Great White Way |
| title | Racing the Great White Way |
| title_full | Racing the Great White Way |
| title_fullStr | Racing the Great White Way |
| title_full_unstemmed | Racing the Great White Way |
| title_short | Racing the Great White Way |
| title_sort | racing the great white way |
| topic | Eugene O’Neill, Paul Robeson, American theater, Harlem Renaissance, Emperor Jones, All God’s Chillun Got Wings, African American performance, American film, African American film, Charles Gilpin, Dudley Murphy, Habib Benglia, diasporia, postcolonial performance, breaking color lines, Jules Bledsoe, blackface, Metropolitan Opera, transnational theater thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production |
| topic_facet | Eugene O’Neill, Paul Robeson, American theater, Harlem Renaissance, Emperor Jones, All God’s Chillun Got Wings, African American performance, American film, African American film, Charles Gilpin, Dudley Murphy, Habib Benglia, diasporia, postcolonial performance, breaking color lines, Jules Bledsoe, blackface, Metropolitan Opera, transnational theater thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBS Social groups, communities and identities::JBSL Ethnic studies thema EDItEUR::A The Arts::AT Performing arts::ATD Theatre studies::ATDF Theatre direction and production |
| url | OCN: 1374246442 |
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