Tag: theatre history

Bad Play Friday 3, Inauguration Edition: Thomas Dixon, Jr.’s The Clansman

There might not be a more (terrifyingly) apt moment to talk about Dixon’s 1905 play, which provided the basis for D.W. Griffith’s 1915 film, The Birth of a Nation.  1 There’s a legend surrounding a presidential endorsement of the film: after the viewing of the movie, President Wilson supposedly declared that it was “like writing history with lightning. And my only regret is that it is all so terribly true.” 2 And, of course, the Ku Klux Klan endorsed the person being sworn into the office of the presidency today. There has been a lot of talk about how we cannot – must not – normalize white supremacy: but the KKK has been normalized – even romanticized – in popular culture since its founding in the Reconstruction period – and Dixon’s play is certainly an instance of this.… Read more

Notes:

  1. I remember a time when I said I was going to try and do a Bad Play Friday once a week. That was hysterical.
  2. Melvyn Stokes, D.W. Griffith’s “The Birth of a Nation”: A History of “The Most Controversial Motion Picture of All Time” (New York: Oxford University Press, 2007), 111. The film was screened for Wilson on February 18, 1915.

Bad Play Friday 2: William Haworth’s The Ensign

Hello again, intrepid fans of bad plays! This week, I’m looking at a professional melodrama set during the war: William Haworth’s The Ensign (1892).

To my knowledge, the copy I got from the Sherman Collection at Southern Illinois University might  be the only extant copy of the play. But it seems that a lot of unpublished typescripts are squirreled away in odd places/papers, or haven’t been catalogued, or the finding aids aren’t digital/online, so I could be wrong on this front (please contact me if you know of any other copies out there!). 

Anyways, actor/playwright/director William Haworth chose a rather unexpected location for the start of his play (at least, unexpected compared to many other popular Civil War melodramas).Read more

Bad Play Friday 1: A. R. Calhoun’s The Color Guard

Welcome to the Bad Play Friday series!

Each week, I will share some quick thoughts on a late-nineteenth/early-twentieth century US play. 1 This series is really a way of keeping me honest as I work through my monograph on Civil War memories; because it is monograph-related, the play will somehow touch upon the war, slavery, or Reconstruction. I’ll be revisiting some plays I’ve already read/written about, but many will be texts I just recently acquired, thanks to a generous PSC-CUNY grant. The grant sent me to the Sherman Theatre archive, part of the Morris Library Special Collections at Southern Illinois University this past February.… Read more

Notes:

  1. My commentary will most likely be rife with sarcasm because it’s my second language, although my doctoral program would not accept it as one of the language requirements.

Podcast Assignment (Part 1 of ?)

As I mentioned here recently, my composition students will be preparing two rounds of podcasts this semester. They are recording their first podcasts tomorrow, and – based on some of the ideas they were bouncing around in class yesterday – I’m looking forward to the results. Several colleagues expressed interest in the assignment, so I thought I’d quickly create a repository for the methods/materials I’m using. Fair warning: this is all still very much in development.… Read more

Call for Participants – Help Play-Test our El Teatro Campesino Game

Please help us play-test a theatre history role-playing game on El Teatro Campesino and the Delano Grape strikes! Andrew Kircher, Shane Breaux, Jane Barnette, and I are developing a game based on Reacting to the Past pedagogy to workshop at ATHE at the end of this month and we’d like to tweak the game as necessary beforehand. The game could be played in one class period, or perhaps two as the instructor sees fit. We would really appreciate your participation and feedback.… Read more

Navigating a Field in Crisis as an ABD

Of late, there have been several reminders for those of us on or about to go on the market  that the fields of theatre studies and the humanities more broadly are in crisis. In early January, an anonymous writer proposed in the Chronicle that theatre PhD programs be dismantled; I am, apparently, one of those “seeking the folly of an academic career.” Established scholars William J. Doan, Heather S. Nathans, Patrick Anderson, and Henry Bial wrote a rebuttal to the piece, claiming that it is time for a conversation about the career trajectories of graduate students in theatre/performance studies:

As representatives of disciplinary societies, and as faculty members who regularly advise graduate students and serve on search committees at our home institutions, we welcome the opportunity to engage in a public discussion about the many possible career options for students who have completed an M.F.A.

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