For almost a hundred years before Uncle Tom's Cabin burst on to the scene in 1852, the American theatre struggled to represent the evils of slavery. Slavery and Sentiment questions how the text, images, and performances presented to American audiences during the antebellum period engaged with the debate over black participation in American society. The book reconsiders traditional comic stereotypes like Jim Crow, as well as familiar sentimental ones, such as Uncle Tom. Using plays, poetry, performances, popular novels, and political cartoons, Heather Nathans blends American history, theatre history, and literary history to question how theatre and performance lifted the 'veil of black' on American racism in the eighteenth and nineteenth centuries. The book contributes to the ongoing discussion of the role of African-American characters and performers in American cultural history, offering scholars in a range of fields a new perspective on a complicated moment in the nation's theatrical past.

This ambitious collection of essays covers American drama in its entirety-from its inception in colonial America, through its many incarnations in the nineteenth century, to its zenith in the twentieth and early twenty-first centuries. Differentiating itself from other treatments of the genre, the handbook will not only highlight the major works of the twentieth century, but will also attend carefully to earlier works and contexts. The collection's first part will explore the genre's eighteenth-century genesis. William Dunlap's complex, sympathetic portrait of British forces in Andre is counterbalanced by the biting anti-colonial political satire of the nation's first female playwright, Mercy Otis Warren, through an appraisal of her witty, subversive skewering of British loyalists in The Group. The nineteenth century saw the form diversifying with offerings like the antebellum era's reform plays, the melodrama, and the musical-a flowering that was given a new center of action in the growth of Broadway. A full survey of the vexing tradition of minstrelsy and the struggles of Black Americans on the stage provides a transition into the twentieth century. The new approaches to playwriting and performance pioneered by Eugene O'Neill, Susan Glaspell, and the Provincetown Players gave theater a new cachet early in the century through the possibilities offered by naturalism and expressionism. Overtly political content took the stage in the protest plays of Clifford Odets during the Great Depression though in general a more insular realism proved the dominant style, albeit one interrupted by recurring periods of experimentalism. Key moments and artists who defined the later half of the twentieth-century are illuminated through in-depth essays on the scathing indictments of the American dream put forward by Arthur Miller, Tennessee Williams, and Edward Albee; the impact of the countercultural, mixed-race musical Hair; the complex nature of David Mamet's social critique; the energy of experimental, off-Broadway theater; the importance of place and memory in August Wilson's works; and the acute anxiety over the AIDS crisis during the Regan eighties as presented in Angels in America. The volume will conclude with a consideration of what lies ahead for the nation's drama, focusing on the pivotal work of leading lights such as Sarah Ruhl and Suzan Lori-Parks.

Theatre has often served as a touchstone for moments of political change or national definition and as a way of exploring cultural and ethnic identity. In this 2003 book, Heather Nathans examines the growth and influence of the theatre in the development of the young American Republic, from the Revolution through to the election of Thomas Jefferson in 1800. Unlike many works on the early American theatre, this book explores the lives and motives of the people working behind the scenes to establish a new national drama. Some of the most famous figures in American history, from George Washington to Sam Adams, from John Hancock to Alexander Hamilton, battled over the creation of the American theatre. The book traces their motives and strategies - suggesting that for many of these men, the question of whether or not Americans should go to the playhouse meant the difference between the success and failure of the Revolutionary mission.

Theater has often served as a touchstone for moments of political change or national definition and as a way of exploring cultural and ethnic identity. Heather Nathans examines its growth and influence in the development of the young American Republic--from the Revolution through the election of Thomas Jefferson in 1800. Unlike many works on early American theater, this book explores the lives and motives of the people working behind the scenes to establish a new national drama.

For almost a hundred years before Uncle Tom's Cabin burst on to the scene in 1852, the American theatre struggled to represent the evils of slavery. Slavery and Sentiment questions how the text, images, and performances presented to American audiences during the antebellum period engaged with the debate over black participation in American society. The book reconsiders traditional comic stereotypes like Jim Crow, as well as familiar sentimental ones, such as Uncle Tom. Using plays, poetry, performances, popular novels, and political cartoons, Heather Nathans blends American history, theatre history, and literary history to question how theatre and performance lifted the 'veil of black' on American racism in the eighteenth and nineteenth centuries. The book contributes to the ongoing discussion of the role of African-American characters and performers in American cultural history, offering scholars in a range of fields a new perspective on a complicated moment in the nation's theatrical past.

Shakespearean Educations examines how and why Shakespeare's works shaped the development of American education from the colonial period through the 1934 Chicago World's Fair, taking the reader up to the years before the Servicemen's Readjustment Act of 1944 (popularly known as the GI Bill), coeducation, and a nascent civil rights movement would alter the educational landscape yet again. The essays in this collection query the nature of education, the nature of citizenship in a democracy, and the roles of literature, elocution, theater, and performance in both. Expanding the notion of "education" beyond the classroom to literary clubs, private salons, public lectures, libraries, primers, and theatrical performance, this collection challenges scholars to consider how different groups in our society have adopted Shakespeare as part of a specifically "American" education. Shakespearean Educations maps the ways in which former slaves, Puritan ministers, university leaders, and working class theatergoers used Shakespeare not only to educate themselves about literature and culture, but also to educate others about their own experience. Published by University of Delaware Press.