03771nam 2200433 u 450 991073158200332120230712132547.00-472-90360-8(CKB)27556369700041(EXLCZ)992755636970004120230712d2023 uy 0engRacing the Great White Way Black performance, Eugene O'Neill, and the transformation of Broadway /Katie N JohnsonUniversity of Michigan Press20239780472075782 Chapter 1: The Emperor's Remains -- Chapter 2: An Algerian in Paris -- Chapter 3: Broadway's First Interracial Kiss -- Chapter 4: Racing Operatic Emperors -- Chapter 5: Racing the Cut: Black to Ireland -- Conclusion: What Remains?Challenging the widely accepted idea that Broadway was the white-hot creative engine of U.S. theater during the early twentieth century, author Katie 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.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 text-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 dramatic 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 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 his work stimulated extraordinary, and underappreciated, traffic between Broadway and Harlem-between white and Black America. While it focuses on investigating Broadway productions of O'Neill, the book also attends to the vibrant transnational exchange 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.African Americans in the performing artsAfrican Americans in the performing artsHistory20th centuryBlack people in the theaterBlack people in the theaterUnited StatesHistory20th centuryTheaterUnited StatesHistory20th centuryPERFORMING ARTS / Theater / History & CriticismbisacshPERFORMING ARTS / Theater / Direction & ProductionbisacshAfrican Americans in the performing arts.African Americans in the performing artsHistoryBlack people in the theater.Black people in the theaterHistoryTheaterHistoryPERFORMING ARTS / Theater / History & CriticismPERFORMING ARTS / Theater / Direction & Production812/.52PER011020PER011010bisacshJohnson Katie N.1372063BOOK9910731582003321Racing the Great White Way3401940UNINA