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Staging the "folk": A history of Har...

Tufts University., Drama.

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Staging the "folk": A history of Harlem's little theatre movement, 1920--1940.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Staging the "folk": A history of Harlem's little theatre movement, 1920--1940./
作者:	Macki, Adrienne C.
面頁冊數:	281 p.
附註:	Adviser: Barbara W. Grossman.
Contained By:	Dissertation Abstracts International69-03A.
標題:	History, Black. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3304127
ISBN:	9780549522614

Staging the "folk": A history of Harlem's little theatre movement, 1920--1940.
Macki, Adrienne C.

Staging the "folk": A history of Harlem's little theatre movement, 1920--1940. - 281 p.

Adviser: Barbara W. Grossman.

Thesis (Ph.D.)--Tufts University, 2008.

As one of the first full-length studies of African American performance history, this project examines the staging and technical contributions of Harlem's Little Negro Theatre productions from 1920 to 1940 by illuminating the fragmentary history of early-twentieth-century African American performance through the intersections of space, place, and race. It suggests how black artists used the ethos, strategies, and practices of the Art Theatre movement to further their bold strategies of representation and reveals the emergent connections and collisions between white and black aesthetics. This study not only provides an under-researched area of theatre scholarship, but also contextualizes its overall impact on the history of African American culture. As a result, it reconstructs the production history of Harlem's most significant Little Negro theatres and the Harlem Negro Unit of the Federal Theatre Project. In particular, by uncovering specific designers and practical aspects of black performance this undertaking restores the often invisible legacy of black artists.

ISBN: 9780549522614Subjects--Topical Terms:

1017776
History, Black.

Staging the "folk": A history of Harlem's little theatre movement, 1920--1940.
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245 1 0 $a Staging the "folk": A history of Harlem's little theatre movement, 1920--1940.
300 $a 281 p.
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500 $a Source: Dissertation Abstracts International, Volume: 69-03, Section: A, page: 0819.
502 $a Thesis (Ph.D.)--Tufts University, 2008.
520 $a As one of the first full-length studies of African American performance history, this project examines the staging and technical contributions of Harlem's Little Negro Theatre productions from 1920 to 1940 by illuminating the fragmentary history of early-twentieth-century African American performance through the intersections of space, place, and race. It suggests how black artists used the ethos, strategies, and practices of the Art Theatre movement to further their bold strategies of representation and reveals the emergent connections and collisions between white and black aesthetics. This study not only provides an under-researched area of theatre scholarship, but also contextualizes its overall impact on the history of African American culture. As a result, it reconstructs the production history of Harlem's most significant Little Negro theatres and the Harlem Negro Unit of the Federal Theatre Project. In particular, by uncovering specific designers and practical aspects of black performance this undertaking restores the often invisible legacy of black artists.
520 $a It is also concerned with how African Americans situated themselves within national identity, paradoxically fighting for acceptance and autonomy in a time characterized by racial strife and segregation. Racial and sexual discrimination during the first half of the twentieth century by major white institutions and theatrical unions clearly impacted the advancement of African Americans in all production areas save acting. Subsequently, little scholarship has appeared on specific designers and technical aspects of African American performance. This study rectifies that gap by showcasing an under-examined area of black theatre, focusing on the efforts of the National Ethiopian Art Theatre, Krigwa Players, Harlem Experimental Theatre, Harlem's FTP Negro Unit, and its legacy. At the same time, it seeks to map the diasporic network of designers, directors, costumers, stage managers, and affiliated backstage personnel, evaluating their contributions to this erased narrative of black performance. By noting how these networks paradoxically advanced and stifled its members, it becomes clear how class, ethnicity, and gender have increasingly promoted identity politics and consequently provided a semblance of solidarity.
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