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Excess Baggage: Transatlantic Identity, Belonging and Performance Diasporas, 1850 – 1910

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Excess Baggage: Transatlantic Identity, Belonging and Performance Diasporas, 1850 – 1910 Excess Baggage: Transatlantic Identity, Belonging and Performance Diasporas, 1850 – 1910. Author and Candidate: Holly Gale Veronica Millette Royal Holloway, University of London Presented in partial fulfilment of the requirement for the degree of Doctor of Philosophy October 2011 1 Declaration of Authorship I Holly Gale Veronica Millette hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: _____________________ Date: _____________________ 2 Acknowledgments Every project has a link; an invisible thread that attaches it to something long ago remembered yet still uniquely tangible. Here is mine: For Janette “Jane” Elizabeth Strauss Millette, 1895 – 1981 And for the rainforest I sacrificed in the making of this thesis. I started my doctoral journey in order to rigorously interrogate questions and connections that had been circulating around my brain for far too long. To that end, I explored these questions too deeply, interrogated too closely, and took far too long to deliver. For that and for those that I inconvenienced, I apologise. Yet I cannot say I regret my journey or the way I took it. For those who assisted, encouraged, enlightened and believed in me along the way, I thank you. Specifically, Professor Jacky Bratton and Dr. Gilli Bush-Bailey, for their patient supervision; Professor Elizabeth Sakellaridou, for reaching out to me in the midst of the abyss; Dr. Alison Long, for coming to my rescue; Richard Antonel, for chivvying me towards a format; Monica Lenci, for believing in me from afar; Dr. Anna Lotito, for sharing her finds; Dr. Teresa Botelho, for frightening me when I most needed it; Melvin Sullivan, who ferried the draft to the printers although he had never read a single word; and Maria Balermpa – between me and madness stood one amazing friend... thank you. Those embarking on transnational history might well be advised that it notches up even more than the usual number of debts: you plead with institutions to give you grants to travel to far-flung archives; you force yourself on long-suffering hosts who put you up; and you apply for every bursary going in the hope that someone will be as fascinated with your work as you. Thank you to: Royal Holloway for their generous support with their bursary, studentship, and International Exchange Programme; The Hiram Wingate Foundation for their Scholarship, their interest and their immense support; The Una Ellis-Fermor Scholarship committee for their generosity; The University of London for their Central Research Fund Travel Grant, which enabled one of many research journeys; The Society for Theatre Research for their generous bursary; and the members of SCUDD for enabling at least one conference attendance. Equally, those familiar with intercultural interdisciplinary research will know that it relies, more heavily than any other research project, on the expertise and ‘kindness of strangers’. To those archivists I have driven to distraction with my constant, insistent, and incessant digging (often at odd hours and in a panic), I owe you the greatest debt of gratitude. Especially archivists and professionals at: The Royal Archives, Windsor; Paul Mercer at SUNY; The University of Pennsylvania Archives; The New York Public Library; Vicky at the RHUL archives, The Museum of the City of New York; Colindale Newspaper Library and the excellent staff at the British Library, my home away from home; and, of course, ‘The Boys’ at the University of South Florida. 3 Abstract What follows, in four case studies, is an interrogation of the role that identity played in performance in the transatlantic cultural world between 1850 and 1910. I look at performers because their transnational struggles and assimilations of belonging were, and remain, visible precisely because they engaged with theatricality and performativity in the production of saleable and exchangeable cultural commodities. Identity and belonging are etched into the theatrical diasporas that these people traversed and, I argue, are clearly visible situations that should be taken into account when considering their historical narratives. Investigating their situations in this way is new work, which I hope will open doors to a deeper understanding and a more inclusive historicisation of performance and performers at the Fin de Siècle. Theoretically I argue from both a cultural materialist position in considering performance cultures and commodities, and with social science paradigms when considering assimilation typologies and strategy. Situating typologies of transnational belonging and social science strategies of integration within a cultural history of performance is new work, which relies on the post-modern turn toward interdisciplinary historical analysis. Indeed, the fields of identity studies and immigration studies are relatively new. In introducing recent theory to the very rich materiality of late- nineteenth century performance culture I hope to extend the life of the argument that there is much to know and rewrite in narratives of the players in this period. 4 Table of Contents Declaration of Authorship ................................................................................................. 2 Acknowledgments ............................................................................................................. 3 Abstract ............................................................................................................................. 4 Table of Contents .............................................................................................................. 5 List of Illustrations ........................................................................................................ 6 Introduction ....................................................................................................................... 8 Location of Culture in Exchange .................................................................................. 9 Interculturalism ........................................................................................................... 11 Orientalism, Post-colonialism, and the multicultural .................................................. 14 Biculturalism and the Lean to the Linguistic .............................................................. 19 Intercultural Communication in Context .................................................................... 20 Nationalism, Citizenship and Migrants ....................................................................... 24 Performance, History, and the ‘Inter’ ......................................................................... 31 Reporting from the Slip – Slippage as a positive focus of Performance History ....... 34 Markets and Social Spaces .......................................................................................... 38 Hegemony and Social Control .................................................................................... 41 Agency and Brokers .................................................................................................... 43 The Sojourners ............................................................................................................ 45 The Migrant ................................................................................................................. 47 The Businesswoman ................................................................................................... 50 The Tourists ................................................................................................................ 53 To Conclude ................................................................................................................ 55 Chapter One. William and Ellen Craft: The Transatlantic Identity Formation of the Sojourner (1850 – 1870). ................................................................................................ 57 The Sojourners ............................................................................................................ 59 The Journey ................................................................................................................. 60 Narratives and Asylum ................................................................................................ 63 National Bipartisanship and Colonialism ................................................................... 66 Belonging, Security and Competence ......................................................................... 68 School and Home ........................................................................................................ 72 Public Performances.................................................................................................... 79 Women’s Work in Politics and Performance .............................................................. 85 Private Performances – Ellen’s Assimilation in Separate Spheres ............................. 91 Private Performances – William’s Assimilation in Separate Spheres ........................ 98 To Conclude .............................................................................................................. 101 Chapter Two. Dion Boucicault: The Melodramatic Immigration of Transatlantic Identity (1860 – 1880) ................................................................................................................ 104 The Poor of ____ ......................................................................................................
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