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The Spoleto Festival USA by Colleen K. Reilly Bachelor of Arts, College of Charleston, 1995 Master Of

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The Spoleto Festival USA by Colleen K. Reilly Bachelor of Arts, College of Charleston, 1995 Master Of Staging Charleston: The Spoleto Festival U.S.A. by Colleen K. Reilly Bachelor of Arts, College of Charleston, 1995 Master of Arts, University of South Carolina, 2000 Master of Library and Information Science, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH Arts and Sciences This dissertation was presented by Colleen K. Reilly September 4, 2009 and approved by Attilio Favorini, PhD, Professor, Theatre Arts Kathleen E. George, PhD, Professor, Theatre Arts Deane L. Root, PhD, Professor, Music Dissertation Advisor: Bruce McConachie, PhD, Professor, Theatre Arts ii Copyright © by Colleen K. Reilly 2009 iii Staging Charleston: The Spoleto Festival U.S.A. Colleen K. Reilly, PhD University of Pittsburgh, 2009 The Spoleto Festival U.S.A. is a seventeen day international arts festival held annually in Charleston, South Carolina. While the Spoleto Festival U.S.A. perpetuates many of the cultural practices of the hegemonic community of Charleston, it also participates in negotiations of culture on the contemporary global stage. The Festival and the City rely on one another to constitute an identity that is consumable for a tourist and/or festival audience, and this relationship became even more urgent after Hurricane Hugo in 1989. Hurricane Hugo serves as a peripeteia of the self-fashioning and self-reflexive narrative shaped by the Charleston elite since the 18th century, and the Spoleto Festival U.S.A. serves as the agent of its denouement. This function of the festival impulse in the contemporary urban setting of Charleston, South Carolina will be the focus of this dissertation, which will examine the relationship between the ―placedness‖ of the historical city and the ―placelessness‖ of the festival atmosphere. This study will identify the features of the festival impulse that engage history, memory, and community and negotiate the territory between ―place‖ and ―space‖. It will compare the historical imaginary of the city with its contemporary identity as an international tourist destination and identify the strategies employed by the festival to destabilize homogenous worldviews and remap the geography of memory in Charleston‘s past and present. iv TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................... XI 1.0 CHAPTER ONE: INTRODUCING THE FESTIVAL IMPULSE ......................... 1 1.1 METHODOLOGY .............................................................................................. 4 2.0 CHAPTER TWO: STAGING HISTORY IN CHARLESTON ............................. 11 2.1 PLAUSIBLE SCHEMES, MOSTLY OF A PLAUSIBLE NATURE: THE SOUTH CAROLINA INTERSTATE AND WEST INDIAN EXPOSITION............... 13 2.2 RAISING THE (BAR): THE HISTORICAL PRESERVATION MOVEMENT ...................................................................................................................... 25 2.3 IF YOU BUILD IT THEY WILL COME: THE BATTLE OF CHARLESTON .................................................................................................................. 36 2.4 WHY MAKE THINGS SIMPLE WHEN ONE CAN MAKE THEM COMPLICATED: THE INCORPORATION OF THE SPOLETO FESTIVAL U.S.A. (1977) 42 3.0 CHAPTER THREE: “NOW CHARLESTON HAS EVERYTHING” ................ 56 3.1 FESTIVALS: WHO NEEDS „EM? ................................................................ 58 3.2 TOURISTS: WHO NEEDS „EM? ................................................................... 66 3.3 “THE CLOSEST THE CAROLINAS ARE GOING TO GET TO BAYREUTH” ..................................................................................................................... 74 v 3.4 HOW DO YOU SOLVE A PROBLEM LIKE MENOTTI ........................... 83 4.0 CHAPTER FOUR: IT COULD ONLY HAPPEN HERE: PLACING THE PAST 92 4.1 WALKING THE CITY: PLACES WITH A PAST ........................................ 94 4.1.1 The Living Museum .................................................................................. 103 4.1.2 Cosmograms .............................................................................................. 109 4.1.3 Urban Texts ............................................................................................... 116 4.1.4 Festival Spaces ........................................................................................... 120 4.2 WALKING THE LINE: PLACES WITH A FUTURE ................................ 125 5.0 CHAPTER FIVE: PLAYING THE PAST ............................................................ 130 5.1 “ACTIVE, ACTUAL, AND AUDIBLE”: THE SOCIETY FOR THE PRESERVATION OF SPIRITUALS ............................................................................. 131 5.2 REQUIEM FOR A LOST YESTERDAY: MAMBA’S DAUGHTERS ....... 140 5.2.1 Mamba’s Daughters on the Page .............................................................. 141 5.2.2 Mamba’s Daughters on the Stage ............................................................. 149 5.3 MAMBA’S DAUGHTERS COMES HOME .................................................. 156 6.0 CHAPTER SIX: PLAYING THE FUTURE ......................................................... 163 6.1 FESTIVAL MARKETPLACES..................................................................... 164 6.2 A SENSE OF ANTIQUITY ............................................................................ 166 6.3 STAGING “THE MING RING” .................................................................... 172 6.4 THE EDIFICE COMPLEX ............................................................................ 185 6.5 STAGING THE SLAVE TRIANGLE ........................................................... 189 7.0 CONCLUSION: FINALE(S) .................................................................................. 195 vi APPENDIX A ............................................................................................................................ 200 BIBLIOGRAPHY ..................................................................................................................... 204 vii LIST OF TABLES Table 1. Summary of Population by Race and Region of the City: Charleston, South Carolina, 1920-1990 ..................................................................................................................................... 34 Table 2. Lyrics for ―Don‘t Ya Mind What de Debil Do‖ ........................................................... 141 Table 3. Dramatic Structure of Mamba‟s Daughters.................................................................. 142 Table 4. Spoleto Festival U.S.A. Schedule for The Peony Pavilion, June 3-June 13, 2004. ..... 178 viii LIST OF FIGURES Figure 1. Charleston Peninsula, 1877 ........................................................................................... 20 Figure 2. Negro Group Statue by Charles A. Lopez .................................................................... 23 Figure 3. The ―Old and Historic Charleston District,‖ 1931 ........................................................ 31 Figure 4. Charleston Historic District, 1986 ................................................................................. 33 Figure 5. ―A New Era Begins for Historic Charleston‖ ................................................................ 68 Figure 6. Logo, Spoleto Festival U.S.A. ....................................................................................... 70 Figure 7. Festival Venues, 1977. .................................................................................................. 72 Figure 8. Map of Installation Sites, Places with a Past, 1991 .................................................... 103 Figure 9. Three Ghost Ships, Chris Burden ................................................................................ 105 Figure 10. Sculpture for the Old City Jail, Antony Gormley ..................................................... 107 Figure 11. The New Charleston, Houston Conwill ..................................................................... 111 Figure 12. Five Rooms, Lorna Simpson...................................................................................... 113 Figure 13. Believe I‟ve Been Sanctified, Joyce Scott .................................................................. 114 Figure 14. House of the Future, David Hammons ...................................................................... 116 Figure 15. Camouflaged History, Kate Ericson .......................................................................... 117 Figure 16. Honey in the Rock (Got to Feed God Children), Elizabeth Newman ....................... 119 Figure 17. Foreign Affairs, Narelle Jubelin ................................................................................ 121 ix Figure 18. Indigo Blue, Ann Hamilton ....................................................................................... 122 Figure 19. Ethel Waters, circa 1939 ............................................................................................ 152 Figure 20. Façade of the Dock Street Theatre, ........................................................................... 154 Figure 21. Performance Venues for the Spoleto Festival U.S.A., 2001. .................................... 186 x ACKNOWLEDGMENTS Many debts were incurred in the undertaking of this PhD. Foremost, I would like to thank my dissertation advisor, Bruce McConachie, for his high standards
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