LEADER 03771nam 2200433 u 450 001 9910731582003321 005 20230712132547.0 010 $a0-472-90360-8 035 $a(CKB)27556369700041 035 $a(EXLCZ)9927556369700041 100 $a20230712d2023 uy 0 101 0 $aeng 200 10$aRacing the Great White Way $eBlack performance, Eugene O'Neill, and the transformation of Broadway /$fKatie N Johnson 210 $cUniversity of Michigan Press$d2023 311 $a9780472075782 327 $aChapter 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? 330 3 $aChallenging 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. 330 3 $aThe 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. 606 $aAfrican Americans in the performing arts 606 $aAfrican Americans in the performing arts$xHistory$y20th century 606 $aBlack people in the theater 606 $aBlack people in the theater$zUnited States$xHistory$y20th century 606 $aTheater$zUnited States$xHistory$y20th century 606 $aPERFORMING ARTS / Theater / History & Criticism$2bisacsh 606 $aPERFORMING ARTS / Theater / Direction & Production$2bisacsh 615 0$aAfrican Americans in the performing arts. 615 0$aAfrican Americans in the performing arts$xHistory 615 0$aBlack people in the theater. 615 0$aBlack people in the theater$xHistory 615 0$aTheater$xHistory 615 7$aPERFORMING ARTS / Theater / History & Criticism 615 7$aPERFORMING ARTS / Theater / Direction & Production 676 $a812/.52 686 $aPER011020$aPER011010$2bisacsh 700 $aJohnson$b Katie N.$01372063 906 $aBOOK 912 $a9910731582003321 996 $aRacing the Great White Way$93401940 997 $aUNINA