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White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024

White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour
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McAllister, Marvin 作者
譯者
2003-5 出版日期
272 頁數
$ 32.71 價格
叢書系列
9780807854501 圖書編碼

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White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 epub 下載 mobi 下載 pdf 下載 txt 下載 2024

White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 epub 下載 pdf 下載 mobi 下載 txt 下載 2024

White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024


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White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 著者簡介

White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 著者簡介

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White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour 在線電子書 圖書描述

In August 1821, William Brown, a free man of color and a retired ship's steward, opened a pleasure garden on Manhattan's West Side. It catered to black New Yorkers, who were barred admittance to whites-only venues offering drama, music, and refreshment. Over the following two years, Brown expanded his enterprises, founding a series of theaters that featured African Americans playing a range of roles unprecedented on the American stage and that drew increasingly integrated audiences. Marvin McAllister explores Brown's pioneering career and places his theatrical experiments within the broader context of American social, political, and cultural history. He reveals how each of Brown's ventures--the African Grove, the Minor Theatre, the American Theatre, and the African Company--explicitly cultivated an intercultural, multiracial environment. He also investigates the negative white reactions, verbal and physical, that led to Brown's managerial retirement in 1823. Brown left his mark on American theater by shaping the careers of his performers and creating new genres of performance. Beyond that legacy, says McAllister, this nearly forgotten theatrical innovator offered a blueprint for a truly inclusive national theater.

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