Read e-book online Codifying the National Self: Spectators, Actors, and the PDF

By Barbara Ozieblo, Maria Dolores Narbona-Carrion, Marc Maufort

The theatre has consistently been the positioning of visionary hopes for a reformed nationwide destiny and an area for propagating rules, either cultural and political. The essays during this quantity handle the thoughts of 'Americanness' and the perceptions of the 'alien' - as handled within the paintings of Anna Cora Mowatt to Nilo Cruz.

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Extra info for Codifying the National Self: Spectators, Actors, and the American Dramatic Text

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Why do so many producers continue to claim the white heat of commerce for art? How is this miraculous alchemy effected? And why does the “intelligent minority” still need to believe in miracles? Works Cited Anderson, H. Dewey and Percy E. Davidson. Occupational Trends in the United States. Stanford: Stanford University Press, 1940. Arnold, Constable & Co. Advertisement. Theatre Magazine Apr. 1926: 63. Atkinson, Brooks. Broadway. New York: Macmillan, 1970. Bigsby, C. W. E. A Critical Introduction to Twentieth-Century American Drama, Volume One: 1900-1940.

Any real bid to be “modern,” progressive or engaged with something beyond oneself is muted by the gentleness of the satiric barb which reprimands but does not offer an alternative mode of social behavior. My third example is a verse play, Barrett Wendell’s Ralegh in Guiana (Scribner’s 1897), which immediately lays claim to lofty matter because it imitates a Shakespearean tragedy in that the “high” characters speak in iambic pentameter and the “low” characters in prose. A dramatization of Sir Walter Ralegh’s last expedition, the tragic voyage to the Orinoco in the winter of 1617-1618 just prior to his execution back in England in October 1618, the play assumes substantive knowledge of Reading Drama 49 English history and, more significantly, romanticizes and aggrandizes what was in fact a personal and political disaster.

Mills, C. Wright. White Collar: The American Middle Classes. New York: Oxford University Press, 1951. Murphy, Brenda. ” The Cambridge History of American Theatre, Volume Two: 1870-1945. Ed. Don B. Wilmeth and Christopher Bigsby. Cambridge: Cambridge University Press, 1999. 289342. Nathan, George Jean. Testament of a Critic. New York: Knopf, 1931. Pemberton, Brock. “What Price Independence? ” Vanity Fair July 1926: 71. Poggi, Jack. Theater in America: The Impact of Economic Forces, 1870-1967. Ithaca: Cornell University Press, 1968.

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