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Devlin2017.Pdf (1.307Mb) This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Trickle Down Effect: The 1911/1912 Abbey Theatre Tour of America and its impact on early African American Theatre Luke Devlin Degree of Doctor of Philosophy The University of Edinburgh 2017 Abstract This thesis will examine the direct and indirect impact the Irish National theatre had upon American theatre in general and the African American theatre in particular. It discusses the relationship between the Irish theatrical movement during the Irish Literary Renaissance and the drama that was produced during the Harlem Renaissance. To do this Rorty’s concepts of the ‘strong poet’ and ‘ironist’ will be utilized. The bleeding and cross contamination of culture, it is contended, was due to the American tour that the Irish Players undertook in 1911/12. The tour, although staged in white theatre houses and attended by a mainly white audience, had a sizeable impact on the American theatrical landscape. This thesis will chart the course of this change, from the tour through to the beginnings of the Harlem Renaissance. From the Abbey Theatre to the Little Theatre movement and from there to the African American theatre a continuous thread of de-reification, of cultural awakenings is established. In essence, the source of the African American theatre, both the Artistic stylings and hopes of Alain Locke and the propaganda aspirations of W.E.B. DuBois will be referred back to the Irish tour. i Declarations Page This is to certify that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: ii Acknowledgements There are many people that I must thank for making this project both possible and bearable. First I would like to thank Dr. Keith Hughes and Dr. David Farrier for their help and advice throughout the process. Father Brian Lennon S.J. and Dr. Matthew Graham deserve a special mention having proofed the final draft of the PhD. I would also like to recognise the assistance and encouragement that I received from my initial second supervisor, the late Dr. Susan Manning, during the first year of my thesis. Maurice Flanagan, a teacher recently retired from the Sligo Grammar School, should also be mentioned as, without him, I would never have understood the true value of the written word. Secondly, throughout my thesis I worked in many of the fine public libraries located throughout Scotland, both as a researcher and as a staff member and I would like to give a heartfelt thank you to all the staff in the Arbroath, Montrose, Abronhill, Cumbernauld, Condorrat, Kilsyth and Moodiesburn libraries. They all had to hear about my thesis for, what I am sure felt like far too long, but now I can revert to talking about the weather and the Nora Roberts quandary! Thirdly, I would like to express my most sincere thanks and love to my mother, without whose help and support I would never have gone to university in the first place, so, in truth, this is all your fault – you are never too old to pass the blame! I would also like to thank all my siblings, Tinks, nieces and nephews, too many to mention here, for their love and friendship over the years. Another family that must share some of the blame are the Lennon’s. Thank you to John, Deirdre, Anne-Marie, Robert, Marie-Claire, Sean, Violette, Monty, Ludwig, Hiss and Fionn who have all helped me immensely in so many ways. Next to last, but certainly not least, I would like to express my undying gratitude, admiration and love to my wife. She has helped in so many ways I would not know where to start but she has taken every step of this with me and for that she deserves more than I can give. Lastly I would like to take this opportunity to welcome my soon to be born son into the world and for demonstrably displaying that in the heel of the reel a PhD is simply a way of passing the time in between living life. Can’t wait to meet you! iii Contents Declarations Page ................................................................................................................. ii Acknowledgements ............................................................................................................. iii Chapter 1: Introduction ............................................................................................................ 1 Thesis layout ........................................................................................................................ 1 Setting the Stage .................................................................................................................. 3 ‘Strong Poets’....................................................................................................................... 5 Role Play .............................................................................................................................. 6 Cultural Bruising .................................................................................................................. 8 Solidarity Reg .................................................................................................................... 10 White Face, Black hands .................................................................................................... 17 Crafting the Stage .............................................................................................................. 20 Ships Passing in the Night ................................................................................................. 22 Invisible blackness ............................................................................................................. 24 The Ex ................................................................................................................................ 26 Black faces ......................................................................................................................... 29 Thesis layout ...................................................................................................................... 32 iv Chapter 2 ................................................................................................................................ 39 Introduction ........................................................................................................................ 39 A notion once again ........................................................................................................... 40 An Invitation to Play .......................................................................................................... 48 Exit stage West .................................................................................................................. 50 Playboy Plays Up ............................................................................................................... 53 A Modest Revolution ......................................................................................................... 56 Not Led by a Star ............................................................................................................... 59 How The Abbey Managed it? ............................................................................................ 61 A National Cause ............................................................................................................... 63 Distinguished Guests ......................................................................................................... 66 Changing in Stages ............................................................................................................ 68 Export/Import ..................................................................................................................... 71 A Case for New Theatre .................................................................................................... 73 American Independence? ................................................................................................... 78 Chapter 3 ................................................................................................................................ 81 Introduction ........................................................................................................................ 81 Staging the New York Act ................................................................................................. 83 v The Cultural Stage ............................................................................................................. 85 From small seeds...............................................................................................................
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