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- W78867638 abstract "Despite strength of nihilism in West and in so-called Third World, it is arguable that society is approaching in uncertain degree a horizon of sensibility upon which a capacity exists to begin to transform claustrophobic ritual by cross-cultural imaginations that bear upon future through mutations of monolithic character of conquistadorial legacies of civilisation, and that one is not wholly circumscribed by genetic robot or Orwellian nemesis. --Wilson Harris EUGENE O'NEILL, who in his early career was considered an avant-garde enfant terrible of American theater, created yet another sensation in York when he mounted his famous production of The Emperor Jones in 1920, in many ways signaling role New Negro would play in culture of Roaring Twenties. Few plays written by a white man since Shakespeare's Othello had featured such a large starring role for a black man. The play also gave talented black actor Charles Gilpin to American theater, in his searing portrayal of title character. Moreover, drama yoked together some powerful issues that have resurfaced with a vengeance in today's critical debates: race, colonialism, transnationalism, primitivism, dramatic expressionism, construction of masculinity, social mimicry, and, not least, depiction of a circum-Caribbean culture. (1) O'Neill's play depicts deposition of an island tyrant, an ex-Pullman porter and convict from Georgia, Brutus Jones, whose oppressed subjects pursue him in jungle, where he has fled his deserted court in order to dig up treasure he has buried under a white stone. Lost and wandering in swamp/wilderness, gradually losing most of his clothes, Jones becomes increasingly terrified of his surroundings and menacing and constant drumbeat that signals approach of pursuing natives, and, ultimately, death. Because of its employment of expressionistic, psychological, often primitivistic symbolism, O'Neill's play has been trumpeted as coming of age of American theater. As Travis Bogard states, the technical excitement of play, with its drums, its sustained monologue, its rapidly shifting settings framed into a single desperate action, were almost blinding in their virtuosity and in their assurance of important theatrical events to come. (2) After success of Emperor, O'Neill would go on to write his masterworks, Desire under Elms (1924), Strange Interlude (1928), Mourning Becomes Electra (1931), The Iceman Cometh (1946), and posthumous Long Day's Journey into Night (1956), earning him three Pulitzer Prizes, a Nobel Laureate, and acclaim as nation's greatest playwright. When a celebrated and controversial film was made of The Emperor Jones in 1933, legendary Paul Robeson starred, in one of his most memorable performances, which ran register of emotions from hauteur to terror. Robeson had already played role on stage in a revival, garnering strong approval for his portrayal from playwright, who had disapproved of interpolated aspects of Gilpin's performance. (3) This essay focuses on film as a telling juxtaposition of U.S. South and Caribbean, something that was not so saliently featured in original drama. The culture of South is in every word of Brutus Jones, powerful center of play and film, who hails from Georgia. Significantly, screenplay, which dramatically expanded Jones's story to include his life before his reign on island, was written by white Southern playwright and novelist Dubose Heyward (1885-1940), whose contributions made work a reflection of circum-Caribbean, and it is film--and Paul Robeson's crucial performance--rather than play, that I will be interested in during following discussion. Heyward, a native son of old Charleston society, was famous for his portrayal of his city's African American cultures, most prominently in his novel Porgy (1925), which he and his wife, Dorothy Heyward, dramatized for York stage. …" @default.
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- W78867638 date "2011-03-22" @default.
- W78867638 modified "2023-09-23" @default.
- W78867638 title "Creating the Circum-Caribbean Imaginary: DuBose Heyward's and Paul Robeson's Revision of the Emperor Jones" @default.
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