...Emily Banta Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying...

... Beckett’s Waiting for Godot for black southern audiences, the theater challenged a violent structure of time at the heart of global modernity that I call black patience . By this I mean an abiding historical demand for black people to wait: whether in the hold of the slave ship, on the auction block...

... that this moment could not achieve justice, but it was, they believed, “a start.” At the cathartic conclu- sion of each show—Blank and Jensen speak favorably of its basis in Greek theater—the audience welcomes back into the fold its inno- cent brothers and sisters. Stoller describes...

... public humanities seminar at Emory University who partnered with a large regional theater on a project involving dramaturgy and audience engagement for a spring 2020 production of Lynn Nottage’s play Sweat (first performed in 2015). The graduate seminar and the project—both before and in the wake...

... established independent enclaves that held out against colonial armies for gen- erations, beginning in the sixteenth century.) 9 To theater audiences in 1821, this would probably have suggested the character of ‘‘Three- Soliloquy ‘‘Lately Spoken at the African Theatre’’ 7 Finger’d...

... of the performance (58–59). In makingits way to the American stage in the late 1820s, blackface inevitably sacrificed some of its intimacy, but reports of audience behavior confirm that early-nineteenth-century theater-goers considered...

... of parlor spaces and fourth-wall conventions when it included a theater self- consciously designed for elite audiences. Whitman, Melville, Howells, Alcott, and James each get separate chapters, with James’s movement between his...

... on the characters’ failure to live up to Vladimir’s lofty rhetoric (for an early example, see Kern 1954 : 46). For the actors, contemporaneous audience members, and theater historians, the monologue gives rise to a certain kind of interpretive tension: does its conclusion obviate everything that came before? What...

... with “l’humanit For French audiences, the implied nationalism of having the savior be French as well as the affirmation of France’s imperial mission would have made it popular in a theater that, during much of the eighteenth century, had condemned what it saw as foreign barbarism. Lemierre frames his...

... Century is, in part, Sinfield’s reminder that the theater has been and continues to be just as complex and contested a space for the representation of sexual dissidents as, say, the modern novel or contemporary television. Theater...

... collapse in 1845. Brekus’s ‘‘strangers and pilgrims’’ were ‘‘biblical’’ rather than secular femi- nists. Most of them were as poor and uneducated as their audience; few supported political change...

... consistently emphasizes the collective spirit of Soviet theater: “No personality but mass personality. No spectators but one spectator” (6–7). Similarly, British poet Joseph Macleod ( 1943 , 8) traveled to Russia, where he spent time with Paul Robeson, “to see for myself what a real collective audience...

... the linguistic economy of Anglo-American literature. dannyluzon@gmail.com Copyright © 2022 by Duke University Press 2022 translation migration Jewish American literature Yiddish Shakespeare Most Yiddish audiences would have agreed with the theater manager who reportedly claimed, “Gordin...

... and musical theater waned considerably in the 1910s, revealing the degree to which Johnson’s groupdepended on the desire of white audiences. In December 1913, after a period of pronounced success in London, Rosamond wrote...

...Amy E. Hughes Show Town: Theater and Culture in the Pacific Northwest, 1890–1920 . By Holly George . Norman : Univ. of Oklahoma Press . 2016 . x, 266 pp. Cloth, $29.95 ; e-book available. Spectacular Men: Race, Gender, and Nation on the Early American Stage . By Sarah E...

..., but the stage provided a more problematic subtext in the post–Civil War rise of parlor spaces and fourth-wall conventions when it included a theater self- consciously designed for elite audiences. Whitman, Melville, Howells, Alcott...

... of the larger social vision put forth in part 2 of Cane. In the flashing swirl of faces caught in Mr. Barry’s mirror, Dan sees ‘‘a god’s face’’ (C, 68) whose composite image reunites the class- and color-riven theater audience...

... the same year as Nat Turner’s Rebellion, reviews of The Gladiator in performance are largely free of references to contemporary slavery, and theater his- torians, with the recent exceptions of Reed and Heather Nathans (2009, 176), have long concluded that audiences found in Forrest’s Spartacus...

... that Emerson consistently urges his readers to shun. Third, celebrity's attention to the physical person leads to misinterpretations of Emerson's lectures. From the first generation of Emerson's biographers forward, critics have disparaged contemporary audiences as insensitive to the complexities of his...

...- tions and transforms the words into a visual performance that then fuses with the audience’s experience and interpretation. Advertising is able to match theater’s focus on the symbolic func- tion of pictures because it can exploit developments in print tech- nology geared toward mass...