DOCSLIB.ORG

Download File

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download File Race and Performative Historiography in the American Theatre, 1991-2014 Rosa Elizabeth Schneider Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Rosa Elizabeth Schneider All Rights Reserved Abstract Race and Performative Historiography in the American Theatre, 1991-2014 Rosa Elizabeth Schneider The history play is among the United States' oldest theatrical forms, and since its inception the genre has been used to represent and interrogate questions of identity and citizenship. Over the last quarter of the twentieth century until the present day, there has been a dramatic increase in the number of history plays that focus on questions of race and representation. “Race and Performative Historiography in American Theatre, 1991-2014” provides an explanation for this surge, revealing that theatre-makers (playwrights, directors, actors, and designers) drew on a long tradition of metatheatrical techniques on the American stage to make race central to their representation and creation of history. This dissertation scrutinizes some of these techniques, which I have termed Performative Historiography, as these techniques rewrite the way the audience understands our national and racial past. Combining extensive performance analysis, archival work, race theory, and American theatre history, "Race and Performative Historiography" expands the discipline's understanding of the role of the theater in representing America’s racial past, present, and future. Each chapter of “Race and Performative Historiography” describes one of these techniques: sedimented time, historical synecdoche, and revision and repetition. These techniques provide theater-makers new ways of making vivid the past, exposing embedded power structures and forms of prejudice, as well thinking through and against national myths and structures of thought. Not only do these chapters describe these techniques, but they trace how these playwrights and directors give new life to older American theatrical forms: elements from minstrelsy (such as black, white, and red face), melodrama, and Living Newspapers of the Federal Theatre Project. Tracing the afterlives of these forms, I reveal how the juxtaposition of these older traditions with contemporary models of representation creates new theatre forms, and shows that even the most daring of the new American playwrights draw on a long and storied tradition. The history play has always been a genre that American playwrights have turned to define who we are, and where we have been, as a nation. "Race and Performative Historiography" dissects the means by which they make those claims. Table of Contents Acknowledgments ................................................................................................................ iii Dedication ............................................................................................................................ iv Introduction: The Performance of Race and the Genealogy of Performative Historiography.... 1 1.1: "We’re Not Learning History…. We’re Living It!": Underground Railroad Game and defining the History Play ........................................................................................................................................... 1 1.2: Making History: The Techniques of Performative Historiography ................................................ 6 1.3: The Past is Never Past: The Performance of Race and History, from Ponteach to Slave Ship .... 13 Chapter 2: The Past in the Present, and the Present in the Past: Sedimented Time in We are Proud to Present a Presentation and An Octoroon. ............................................................... 30 "And there you have it. / A history of German Colonial Rule in Namibia": Sedimented Time and the struggle to represent history in We Are Proud to Present a Presentation. ...................................... 35 2.1: "We Shouldn't Be Doing Anything Other Than What's Real": The historical record, metatheatrical angst, and Sedimented Time...................................................................................... 38 2.2: "But I'm saying that, As Americans--": Sedimented Time and the performance of the past...... 44 "When you burn it down/What do you put there in its place": Sedimented Time in An Octoroon... 55 2.3: "I know we slaves and evurthang, but you are not your job": Sedimented Time, Slavery, and Aural Juxtaposition.............................................................................................................................. 57 2.4: "The whole point of this thing was to make you feel something": Lynching, Projection, and Visual Sedimented Time...................................................................................................................... 66 2.5:"It looks like it actually might hurt a little": Avatar Creation, RacialiZed Performance, and Sedimented Time ................................................................................................................................ 70 Conclusion: Terror is an Era, is an Era, is an era that gwane: Marys Seacole and the Future of Sedimented time. ........................................................................................................................ 80 Chapter 3: Fake News and Costly Change: Historical Synecdoche in Zoot Suit and Caroline, or Change. ............................................................................................................................... 82 Untangling the Fact from the Fantasy: Historical Synecdoche, Newspapers, and Zoot Suit.............. 90 3.1:" Is that the way to sell papers, or is that the way to sell papers?": Building the case against the Hearst Press. ....................................................................................................................................... 92 3.2: A trial just for show: The Press's influence on the Court. ........................................................... 95 3.3: Fake News, Real Consequences: Newspaper bundles and the law. ........................................... 98 3.4 "The Very Image of the Pachuco Myth": El Pachuco, the zoot suit, and historical synecdoche. ........................................................................................................................................................... 103 3.5: The News on Stage: Zoot Suit's Transformation of the Living Newspapers. ............................. 107 "All changes come from small changes/come from coins janglin in the wash machine": Historical Synecdoche in Caroline, or Change. ............................................................................................ 110 3.6: "Put your faith and clothes in me": Historical Synecdoche and the AnthropomorphiZed Appliances. ........................................................................................................................................ 112 3.7: "I'm the daughter of a maid/in her uniform, crisp and clean!”: Caroline's uniform, and dismantling the Mammy. .................................................................................................................. 117 i 3.8: "Pocket Change/Change Me": Change and Historical Synecdoche ........................................... 121 Conclusion: Historical synecdoche and present circumstance. ..................................................... 131 Chapter 4: Exit Through the Bullethole: Repetition and Historical Re-centering in The America Play and Topdog/Underdog ............................................................................................... 133 "Little Ringing in the Ears. Slight Deafness": Repetition, the body, and historical creation in The America Play. ............................................................................................................................. 147 4.1: "A virtual twinship with greatness": centering The Lesser Known's body. ............................... 149 4.2: "He's dead but not really": The Lesser Known's narrative ........................................................ 158 “Another Black Lincoln”: Repetition and the Rewriting of History in Topdog/Underdog. .............. 164 4.3 Folding and Unfolding: seeding the assassination scene ........................................................... 166 4.4: "Something about it. I dunno. It was looking too real": The assassination and Link's body ..... 171 4.5: "Best you can do is just pretend to be yr old self": Centering Personal Narratives in the Historical. .......................................................................................................................................... 178 Conclusion: Whose Lincoln is it anyway? .................................................................................... 185 Conclusion: Slave Play and the Future of the History Play ................................................... 187 Bibliography ...................................................................................................................... 193 ii Acknowledgments This dissertation began on a winter's night downtown, while I was attending Jackie Sibblies Drury’s We Are Proud to Present a Presentation at Soho Repertory theatre. Surrounded by dramaturgical documents, I saw history come alive before my eyes, and I was astonished in a way that I really never been. The idea was sparked there, but was nurtured by my committee:
Load more

Recommended publications
  • Clybourne Park Study Guide
    Clybourne Park Study Guide The Theatre/Dance Department’s production oF Clybourne Park can be seen December 2 – 7 at 7:30 pm in Barnett Theatre. Tickets 262-472-2222 Monday – Friday 9:30 am – 5:00 pm The Clybourne Park Study Guide was originally created by Studio 180 Theatre, Toronto, Canada, and is being used at UW-Whitewater with Studio 180 Theatre’s permission. www.studio180theatre.com Table of Contents A. Notes for Teachers ...................................................................................................................... 3 B. Introduction to the Company and the Play .................................................................................. 4 UW-Whitewater Theatre/Dance Department .......................................................................................................... 4 Clybourne Park by Bruce Norris ..................................................................................................................................... 5 Bruce Norris – Playwright ................................................................................................................................................. 6 C. Attending the Performance ......................................................................................................... 7 D. Background Information ............................................................................................................. 8 1. Source Material: A Raisin in the Sun by Lorraine Hansberry .......................................................................
    [Show full text]
  • Profile Season 19-20 Media Release
    2019-20: GENERATIONS Brenden Jacobs-Jenkins/ Lynn Nottage/ Paula Vogel FOR IMMEDIATE MEDIA RELEASE: Profile Theatre Press Contact: Jen Mitas, Marketing Consultant [email protected] 503-804-2402 Profile Theatre’s 2019-20 Season Celebrates the Voices and Visions of Three Playwrights Across Generations Lynn Nottage, Paula Vogel and Brenden Jacobs-Jenkins PORTLAND, OREGON. May 20, 2019- PROFILE THEATRE’S next season will fea- ture three of America’s most widely celebrated contemporary playwrights: Branden Jacobs-Jenkins (b. 1984), Lynn Nottage (b. 1964), and Paula Vogel (b. 1951). Profile Theatre is one of only three theaters in the country to dedicate their season to an in-depth exploration of a playwright’s vision, using that unique vision as a lens to broaden perspectives on our shared world. Now, in an innovation that deploys Pro- file’s mission to unique effect, we present Generations: two seasons of plays from three of America’s most beloved playwrights whose plays dramatize life, labor and death in the United States and beyond from three different generational vantage points. These visionaries are all connected through the prizes and programs that have shaped them. A gifted playwright, Vogel mentored a generation of playwrights, including Lynn Nottage, who studied with Vogel at Brown. Jacobs-Jenkins was the Paula Vogel Playwright-in-Residence at the Vineyard Theatre, and was on the Su- san Smith Blackburn committee that awarded the prize to Nottage for Sweat. All Pulitzer Prize nominated (or winning), all heralded for the beauty of their writing, their innovative theatricality and deep humanity, Vogel, Nottage and Jacobs-Jenkins’ work stands as a testament to the brilliance of American theatre.
    [Show full text]
  • Applause Magazine, Applause Building, 68 Long Acre, London WC2E 9JQ
    1 GENE WIL Laughing all the way to the 23rd Making a difference LONDON'S THEATRE CRITI Are they going soft? PIUS SAVE £££ on your theatre tickets ,~~ 1~~EGm~ Gf1ll~ G~rick ~he ~ ~ e,London f F~[[ IIC~[I with ever~ full price ticket purchased ~t £23.50 Phone 0171-312 1991 9 771364 763009 Editor's Letter 'ThFl rul )U -; lmalid' was a phrase coined by the playwright and humourl:'t G eorge S. Kaufman to describe the ailing but always ~t:"o lh e m Broadway Theatre in the late 1930' s . " \\ . ;t" )ur ul\'n 'fabulous invalid' - the West End - seems in danger of 'e:' .m :: Lw er from lack of nourishmem, let' s hope that, like Broadway - presently in re . \ ,'1 'n - it too is resilient enough to make a comple te recovery and confound the r .: i " \\' ho accuse it of being an en vironmenta lly no-go area whose theatrical x ;'lrJ io n" refuse to stretch beyond tired reviva ls and boulevard bon-bons. I i, clUite true that the season just past has hardly been a vintage one. And while there is no question that the subsidised sector attracts new plays that, =5 'ears ago would a lmost certainly have found their way o nto Shaftes bury Avenue, l ere is, I am convinced, enough vitality and ingenuity left amo ng London's main -s tream producers to confirm that reports of the West End's te rminal dec line ;:m: greatly exaggerated. I have been a profeSSi onal reviewer long enough to appreciate the cyclical nature of the business.
    [Show full text]
  • CAMINHOS CÊNICOS DE SARAH BENSON PARA a MONTAGEM DE BLASTED Mediação E Tradução: Juliana Pamplona
    CAMINHOS CÊNICOS DE SARAH BENSON PARA A MONTAGEM DE BLASTED Mediação e tradução: Juliana Pamplona Sarah Benson (1978 ̶ ) é diretora artística do Soho Rep – Soho Repertory Theatre – em Nova York, desde 2007. O Soho Rep é um espaço dedicado ao teatro contemporâneo com enfoque em novos autores e cuja proposta é apoiar projetos que não partem necessariamente do texto pronto do autor: por exemplo, projetos de diretores-autores, como Lear de Young Jean Lee, ou de grupos de pesquisa com trabalhos laboratoriais experimentais, como o Life and Times do grupo Nature Theater of Oklahoma. Segundo Benson, o que move seu critério de escolha de artistas para os programas de desenvolvimento de obras no Soho Rep é, além da voz autoral “única” dos autores/criadores, o potencial de teatralidade de seus projetos. Estes devem reivindicar as especicidades do teatro e resistir a uma adaptação fácil a outras mídias. Benson considera importante que o espaço seja usado por artistas contemporâneos com trajetórias já reconhecidas no teatro o-Broadway, como Richard Maxwell, mas também por jovens autores, buscando encontrar essa “voz autoral” através de processos de experimentação e amadurecimento. Em ocasião de minha pesquisa de doutorado sobre a dramaturga inglesa Sarah Kane, em 2012, estive com Benson para uma conversa sobre a primeira montagem da peça Blasted (Detonado, 1995) de Sarah Kane em Nova York, dirigida pela própria Benson em 2008 no Soho Rep. O trecho transcrito abaixo em versão bilíngue português/inglês, faz parte dessa conversa na qual Benson compartilha algumas soluções cênicas que zeram parte de seu processo de direção e um pouco de sua visão sobre a peça Blasted.
    [Show full text]
  • Replaying and Rediscovering the Octoroon
    Article Replaying and Rediscovering The Octoroon Merrill, Lisa and Saxon, Theresa Available at http://clok.uclan.ac.uk/17558/ Merrill, Lisa and Saxon, Theresa ORCID: 0000-0002-2129-2570 (2017) Replaying and Rediscovering The Octoroon. Theatre Journal, 69 (2). ISSN 0192-2882 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1353/tj.2017.0021 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk 1 Replaying and Rediscovering The Octoroon Lisa Merrill and Theresa Saxon "[W]hen one is considering the crimes of slavery, the popular theater is as central as the courthouse."1 Saidiya Hartman For over one hundred and fifty years, productions and adaptations of Irish playwright Dion Boucicault's explosive 1859 melodrama, The Octoroon, have reflected differing and sometimes contentious meanings and messages about race and enslavement in a range of geographic locations and historical moments. In this melodrama, set on a plantation in Louisiana, audiences witness the drama of Zoe Peyton, a mixed-race white-appearing heroine who learns after the sudden death of her owner/father, that she is relegated to the condition of "chattel property" belonging to the estate, since she was born of a mother who had herself been enslaved.2 Rather than submit to a new master, having been sold at auction, Zoe poisons herself and dies, graphically, on stage.
    [Show full text]
  • A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners
    A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctoral of Music and Arts University of Washington 2017 Reading Committee: Craig Sheppard, Chair Donna Shin Steven J. Morrison Program Authorized to Offer Degree: Music © Copyright 2017 Pai-Yu Chiu ii University of Washington Abstract A Comparative Evaluation of Group and Private Piano Instruction on the Musical Achievements of Young Beginners Pai-Yu Chiu Chair of the Supervisory Committee: Craig Sheppard School of Music This study compares the relative influence of group and individual piano instruction on the musical achievements of young beginning piano students between the ages of 5 to 7. It also investigates the potential influence on these achievements of an individual teacher’s preference for either mode of instruction, children’s age and gender, and identifies relationships between these three factors and the two different modes of instruction. Forty-five children between the ages of 5 to 7 without previous musical training completed this empirical study, which consisted of 24 weekly piano instruction and a posttest evaluating their musical achievements. The 45 participants included 25 boys and 20 girls. The participants were comprised of twenty-seven 5- year-olds, nine 6-year-olds, and nine 7-year-old participants. Twenty-two children participated in group piano instruction and 23 received private instruction. After finishing 24 weekly lessons, participants underwent a posttest evaluating: (1) music knowledge, (2) music reading, (3) aural iii discrimination, (4) kinesthetic response, and (5) performance skill.
    [Show full text]
  • 100 Most Influential Black Christian History-Makers
    100 Most Influential Black Christian History-Makers Black history is important, but making history now is more important. Compiled and Edited by the Editors of BCNN1.com Black Christian News Network One We thank God for Dr. Martin Luther King Jr. and Rosa Parks, but we need a Dr. Martin Luther King Jr. and a Rosa Parks today. Introduction We believe that black history is important. But we also believe that making history today is more important. We cannot rest on the laurels of great luminaries such as Frederick Douglass, Martin Luther King, Jr., Rosa Parks, George Washington Carver, and others. God used these and others mightily in their time; now He has given us this time and we will have to answer to Him as to how we use it. In light of that, we have attempted to place in one volume the most influential Black Christian History-Makers who are living today and who are serving Jesus Christ with their various gifts and talents. The ability to lead is not something you can train to have. True leadership is a gift from God that is undeniable by people. You cannot make yourself a leader of people. In other words, you cannot be a leader just because you want to be. Only God makes leaders. One can improve his or her leadership abilities but one cannot make himself or herself a leader. The people who have been chosen for this list are not people who are trying to be leaders; they were born leaders by the grace of God.
    [Show full text]
  • Let the Trap Say Amen Free Album Download Let the Trap Say Amen Free Album Download
    let the trap say amen free album download Let the trap say amen free album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6686e5a6cea515e8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. ALBUM: Lecrae & Zaytoven – Let the Trap Say Amen. ALBUM: Lecrae & Zaytoven – Let the Trap Say Amen zip. “Let the Trap Say Amen ” is another 2018 Album by “ Lecrae & Zaytoven ”. Stream & Download “ALBUM: Lecrae & Zaytoven – Let the Trap Say Amen” “Mp3 Download”. Stream And “Listen to ALBUM: Lecrae & Zaytoven – Let the Trap Say Amen” “fakaza Mp3” 320kbps flexyjams cdq Fakaza download datafilehost torrent download Song Below. 01 Get Back Right 02 Preach 03 2 Sides of the Game (feat. Waka Flocka Flame & Kso Jaynes) 04 Plugged In 05 Holy Water 06 Blue Strips 07 Only God Can Judge Me 08 Yet 09 I Can’t Lose (feat. 24hrs) 10 Switch (feat. ShySpeaks) 11 Can’t Block It 12 Fly Away (feat.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • “Brownsville Song (B-Side for Tray)” a New Play by KIMBER LEE Directed by PATRICIA Mcgregor
    LINCOLN CENTER THEATER CASTING ANNOUNCEMENT FOR IMMEDIATE RELEASE, PLEASE SHELDON BEST, SUN MEE CHOMET, LIZAN MITCHELL, CHRIS MYERS, TALIYAH WHITAKER TO BE FEATURED IN THE LCT3/LINCOLN CENTER THEATER NEW YORK PREMIERE PRODUCTION OF “brownsville song (b-side for tray)” A new play by KIMBER LEE Directed by PATRICIA McGREGOR 6 WEEKS ONLY! SATURDAY, OCTOBER 4 THROUGH SUNDAY, NOVEMBER 16 OPENING NIGHT, MONDAY, OCTOBER 20 AT THE CLAIRE TOW THEATER Sheldon Best, Sun Mee Chomet, Lizan Mitchell, Chris Myers and Taliyah Whitaker will comprise the cast of the upcoming LCT3/Lincoln Center Theater New York premiere production of brownsville song (b-side for tray), a new play by Kimber Lee. The production, to be directed by Patricia McGregor, will begin performances Saturday, October 4, running for six weeks only through Sunday, November 16 at the Claire Tow Theater (150 West 65 Street). Opening night is Monday, October 20. brownsville song (b-side for tray) moves fluidly through time as the family of Tray (Sheldon Best), a spirited 18 year-old whose life is cut short, navigate their grief and find hope together. Playwright KIMBER LEE’s plays include fight and tokyo fish story. Center Theatre Group recently presented the world premiere of her play different words for the same thing in Los Angeles at the Kirk Douglas Theatre. Lee’s work has also been presented by the Lark Play Development Center, Page 73, Hedgebrook, Seven Devils, the Bay Area Playwrights Festival, REPRESENT!, Playwrights Festival ACT/Seattle, Great Plains Theatre Conference, Southern Rep and Mo`olelo. Lee’s play fight received the 2010 Holland New Voices Award, and she has been a Lark Playwrights’ Workshop Fellow, a Dramatists Guild Fellow, and a Core Apprentice at The Playwrights’ Center.
    [Show full text]
  • PLAY GUIDE Inside
    McGuire Proscenium Stage / Jan 11 – Feb 16, 2020 Noura by HEATHER RAFFO directed by TAIBI MAGAR PLAY GUIDE Inside THE PLAY Synopsis, Setting and Characters • 4 Responses to Noura • 5 THE PLAYWRIGHT About Heather Raffo •7 In Her Own Words • 8 After the Door Slams: An Interview With Heather Raffo •9 CULTURAL CONTEXT The Long Sweep of History: A Selected Timeline of the Land That Is Now Iraq • 12 What’s What: A Selected Glossary of Terms in Noura • 19 Iraq: Ripped From the Headlines • 22 Chaldean Christians • 24 Meet Cultural Consultant Shaymaa Hasan • 25 ADDITIONAL INFORMATION For Further Reading and Understanding • 27 Guthrie Theater Play Guide Copyright 2020 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTORS Shaymaa Hasan, Daisuke Kawachi, Heather Raffo, Carla Steen Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 EDITOR Johanna Buch ADMINISTRATION 612.225.6000 All rights reserved. With the exception of classroom use by BOX OFFICE 612.377.2224 or 1.877.44.STAGE (toll-free) teachers and individual personal use, no part of this Play Guide may be reproduced in any form or by any means, electronic guthrietheater.org • Joseph Haj, artistic director or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie creates transformative theater experiences that ignite the imagination, The Guthrie Theater receives support from the National stir the heart, open the mind and build community through the illumination of our Endowment for the Arts.
    [Show full text]
  • An Octoroon by Branden Jacobs-Jenkins
    AN OCTOROON BY BRANDEN JACOBS-JENKINS DRAMATISTS PLAY SERVICE INC. AN OCTOROON.indd 1 1/26/2015 3:15:39 PM AN OCTOROON Copyright © 2015, Branden Jacobs-Jenkins All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of AN OCTOROON is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for AN OCTOROON are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee.
    [Show full text]