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Full Description
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional "diversity, equity, and inclusion" initiatives. The book addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts.
Contents
Part I The Troubling Pleasures of Complicit Participation
Introduction
Chapter 1: Blackfaced at The Blacks: Complicit Participation in Jean Genet's Lessons on Race
Part II The Melodramatics of American Racism
Chapter 2: Dion Boucicault's The Octoroon and the Loudly Immersed Audiences of Nineteenth-Century Melodramas
Chapter 3: Hissing, Bidding, and Lynching at Branden Jacobs-Jenkins's An Octoroon
Part III Dueling on Broadway
Chapter 4: Shuffle Along . . . the Campaign Trail
Chapter 5: Hamilton ParticiNation in Diversity and Its Discontents
Part IV Act II or Just Another Talkback?
Chapter 6: Doing Time in Anna Deavere Smith's Act II
Chapter 7: Playing The White Card with Claudia Rankine
Coda
