LIVING HISTORY AS PERFORMANCE: AN ANALYSIS OF THE MANNER IN WHICH HISTORICAL NARRATIVE IS DEVELOPED THROUGH PERFORMANCE Megan Mateer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2006 Committee: James Forse, Advisor William Armaline Graduate Faculty Representative Jonathan Chambers Cynthia Baron © 2006 Megan Mateer All Rights Reserved iii ABSTRACT Dr. James Forse, Advisor Throughout the twentieth century, historians have sought a variety of new ways to engage history, many through the use of performance techniques. New methodologies aided by technology have allowed historians to gain new insights into the past and share those insights with the public. In this study I examine how four methodologies have influenced each other in attempt to achieve this goal: two living history museums: Colonial Williamsburg and Plimoth Plantation; one outdoor historical drama, Trumpet in the Land; three examples of experimental archaeology: the Pamunkey Project, Buckskinners, and the Washburn-Norlands Center; and two PBS productions about living in the past: Frontier House and Colonial House. These categories have two things in common. First they are all attempting to examine some aspect or event from the past, second they all use performance techniques to do this. My argument for this study lies in a two-fold examination. First, in discussing the constructs of each of these methodologies, I argue that it is apparent that the first three categories have been highly influential in the development of the fourth. Second, the misuse of performance techniques has proven ultimately problematic for the PBS productions in their declared efforts to take a step back in time. With the exception of the outdoor historical dramas, which I use as an obvious example of performance and history coming together, those involved with the other categories tend to distance themselves from being associated with other theatrical endeavors believing that such an association diminishes their efforts. These attitudes tend to be based in antitheatrical sentiments which prove to be counter productive to their goals of better engaging past. iv ACKNOWLEDGEMENTS The accomplishment of this degree could not have happened without the encouragement and support of my friends, family, and colleagues. I would like to first acknowledge the patience and diligence of my advisor, Jim Forse. His help in the molding of this work was the perfect balance of advising and listening that allowed me room to express myself while maintaining a professional focus in the writing. As I entered the final throws of completing my dissertation, my committee members, Cynthia Baron, Jonathan Chambers, and Bill Armaline, guided me toward completion with their helpful and insightful advice into my work. Yonghee Lee, Michael Coon, and Nancy Kennedy were fellow students also working toward their PhDs in the same program of study. We were there for each other through the ups and downs of being graduate students. I am the last of the cadre to walk the final mile. This process has been especially trying on my family who has been patient and supportive in their expectation of not only me but also my sister in achieving doctoral degrees. Through the delays and frustrations, they have always been there with encouraging words. Last but definitely not least, I wish to give my heartfelt thanks to Tracy Tupman. His help in the research and editing of this work was invaluable. Above all, he never allowed me to become discouraged. He lived with me through this process as I lived through his, always there with encouragement or chocolate. The list goes on too long for me to be able to thank all those I wish to thank. If you were not mentioned by name, know that you are in my grateful heart. v TABLE OF CONTENTS INTRODUCTION ................................................................................................................. 1 Living History................................................................................................................ 2 Nostalgia and Counter Memory..................................................................................... 4 Antitheatricalism............................................................................................................ 7 Performance and Acting ................................................................................................ 9 Performance Reconstruction as Historic Analysis......................................................... 14 Precise Nature and Scope of this Study ......................................................................... 16 Literature Review........................................................................................................... 20 Organization................................................................................................................... 27 CHAPTER 1. LIVING HISTORY ........................................................................................ 28 The Idea of History ....................................................................................................... 28 Museum Collections to “Living” Museums ................................................................. 31 Social History................................................................................................................ 37 Performing History ....................................................................................................... 40 Conclusion .................................................................................................................... 42 CHAPTER 2. “HISTORY” ON STAGE............................................................................... 44 History as Theatre.......................................................................................................... 44 Introduction .................................................................................................... 44 In the Beginning ............................................................................................. 45 Early America................................................................................................. 46 Outdoor Historical Drama.............................................................................................. 53 vi Trumpet in Land............................................................................................................. 56 Conclusion .................................................................................................................... 60 CHAPTER 3. LIVING HISTORY MUSEUM...................................................................... 62 Colonial Williamsburg: A Patriotic Performance......................................................... 62 The Early Years.............................................................................................. 63 Post WWII...................................................................................................... 66 1960s............................................................................................................... 69 1970s – Present............................................................................................... 70 Performance.................................................................................................... 71 Summary......................................................................................................... 78 Plimoth Plantation.......................................................................................................... 82 Conclusion ..................................................................................................................... 94 CHAPTER 4. EXPERIMENTAL ARCHEOLOGY ............................................................. 96 Introduction.................................................................................................................... 96 Pamunkey Project ......................................................................................................... 104 Buckskinners................................................................................................................. 107 Introduction .................................................................................................... 107 NMLRA.......................................................................................................... 108 Rendezvous..................................................................................................... 110 White Oak Society.......................................................................................... 115 Summary......................................................................................................... 117 Washburn-Norlands Living History Center................................................................... 118 Conclusion ..................................................................................................................... 121 vii CHAPTER 5. LIVING HISTORY AND TELEVISION ...................................................... 123 Introduction.................................................................................................................... 123 The “Real” on Television............................................................................................... 124 Reality TV .....................................................................................................