The "Golden Age" of Blackfaced Minstrelsy in America!The age of minstrelsy in America is a period of entertainment that for years has been shoved aside in much the same way a valuable family heirloom is packed away and forgotten. It may be that as Blacks moved away from southern plantations to the industrialized north any references to the harsh conditions of slavery was not of much enjoyment to t...
Paperback: 52 pages
Publisher: Outskirts Press (May 25, 2011)
Language: English
ISBN-10: 1432766686
ISBN-13: 978-1432766689
Product Dimensions: 6 x 0.1 x 9 inches
Amazon Rank: 5375336
Format: PDF ePub Text TXT fb2 ebook
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This is quite possibly the worst piece of writing I have ever encountered. It is not even good enough to be a high school book report. Most of the information is less than you could find on wikipedia, and In roughly 27 pages I counted somewhere betwe...
dmen. It may be that the nation became culturally too sophisticated to enjoy or respect the shuffling, cakewalking, hand-slapping, joke telling troupes known as minstrel companies. Historians, when writing on the history of drama in America, have overlooked the important role of Negro minstrelsy in this country. Historians may have considered the minstrel show a lower art form and therefore not worthy of critical acclaim. The fact is "blackfaced", "burnt cork", or "Ethiopian" minstrelsy was truly the first American form of entertainment. Historian Robert C. Toll describes the minstrel performance as "...the first American popular entertainment form to become a national institution, it set many precedents and trends that strongly influenced its successors, especially burlesque and vaudeville." Alain Locke, in the International Library of Afro-American Life and History, quotes Dr. Issac Goldberg in saying, "Almost every song-and-dance man of note, from the times of Harrigan and Hart down to our own sophisticated day, started out behind the burnt cork." It is safe to assert, therefore, that all other forms of entertainment in the U.S.A., whether it is vaudeville or Broadway, owe their existence to the influences of early American minstrels. This book: (1) Traces minstrelsy from its origins in Europe to the events which led to its "peculiar" birth in America, (2) documents the way minstrelsy became an established art form, (3) examines the growth, peak and decline of this type of entertainment, (4) studies the influences of other entertainment forms on minstrelsy, and (5) looks at the minstrel influence on similar forms of entertainment which came after it. The contributions of P.T. Barnum, George Washington Dixon, and Charles Matthews; as well as Thomas Dartmouth Rice will be given attention. The influences of the Christy Minstrels, Stephen Foster, James Bland and the Fisk Jubilee Singers are also included. Specialty acts and "oddities" are also written about. "A History of Blackfaced Minstrelsy in America from 1828-1898" acknowledges that were as many white contributors to the development of the period as there were Black contributors. "A History of Blackfaced Minstrelsy in America from 1828 - 1898" is a "must read" and "must have" book for any student of the history of theatre in America; and for any student of history, in general. Washington R. Dobbins, Jr. has carefully crafted a document of historical theatrical significance.
