By J. Westgate
ISBN-10: 1137357681
ISBN-13: 9781137357687
ISBN-10: 1349471666
ISBN-13: 9781349471669
Drawing on conventional archival learn, reception conception, cultural histories of slumming, and up to date paintings in severe thought on literary representations of poverty, Westgate argues that the productions of slum performs served as enactments of the emergent definitions of the slum and the corresponding moral duties concerned therein.
Read Online or Download Staging the Slums, Slumming the Stage: Class, Poverty, Ethnicity, and Sexuality in American Theatre, 1890–1916 PDF
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Extra info for Staging the Slums, Slumming the Stage: Class, Poverty, Ethnicity, and Sexuality in American Theatre, 1890–1916
Sample text
On the other hand, theatre safeguarded the welfare of theatregoers in ways that slumming could not always guarantee. However thrilling the representations of the slums in the plays, those thrills were representations in the bourgeois space of the theatre. ” Thus, A Trip to Chinatown advanced a key premise behind slum plays, namely, that slumming in the theatres of New York was superior to slumming in the streets of New York. However much “The Bowery” became a sensation during and even after the extended run of A Trip to Chinatown, this was only the beginning of the ascendancy of slum plays toward the commanding place they would occupy in New York theatres.
In act two, Higgins literally gets jostled by the locals who patronize Brodie’s saloon, including a scene in which Gibbs threatens him. In act four, Higgins gets figuratively jostled by Michelowsky as part of the combative merchandising of Bowery life. Behind Higgins’s misadventures was the premise that outsiders who enter the slum were vulnerable to the strange things there. On the Bowery deploys Higgins, Jack, and Blanche in the place of audiences to have it both ways, that is, to suggest that slum plays could not simply subsidize but perhaps substitute for slumming.
The tourism narrative endorsed abjection of the working class and immigrants of New York City, that is, it invited audiences to contrast themselves, morally and materially, with what they found in there. This abjection took multiple forms, the most common of which involved viewing the lower classes as spectacles of amusement not despite but because of the difficulties of slum life. Many plays featured scenes that encouraged laughter at material deprivations, drunkenness, and addiction instead of the philanthropy that Howells felt toward the tramp with the maimed hand.
Staging the Slums, Slumming the Stage: Class, Poverty, Ethnicity, and Sexuality in American Theatre, 1890–1916 by J. Westgate
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