Complicit Participation: The Liberal Audience for Theater of Racial Justice
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. The book addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts.
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Complicit Participation: The Liberal Audience for Theater of Racial Justice
In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. The book addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts.
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Complicit Participation: The Liberal Audience for Theater of Racial Justice

Complicit Participation: The Liberal Audience for Theater of Racial Justice

by Carrie J. Preston
Complicit Participation: The Liberal Audience for Theater of Racial Justice

Complicit Participation: The Liberal Audience for Theater of Racial Justice

by Carrie J. Preston

Overview

In this incisive critique of the ways performances of allyship can further entrench white privilege, author Carrie J. Preston analyses her own complicit participation and that of other audience members and theater professionals, deftly examining the prevailing framework through which white liberals participate in antiracist theater and institutional “diversity, equity, and inclusion” initiatives. The book addresses immersive, documentary, site-specific, experimental, street, and popular theatre in chapters on Jean Genet's The Blacks, Branden Jacobs-Jenkins's An Octoroon, George C. Wolfe's Shuffle Along, Lin-Manuel Miranda's Hamilton, Anna Deavere Smith's Notes from the Field, and Claudia Rankine's The White Card. Far from abandoning the work to dismantle institutionalized racism, Preston seeks to reveal the contradictions and complicities at the heart of allyship as a crucial step toward full and radical participation in antiracist efforts.

Product Details

ISBN-13: 9780197693407
Publisher: Oxford University Press
Publication date: 06/18/2024
Pages: 288
Product dimensions: 5.90(w) x 8.90(h) x 1.00(d)

About the Author

Carrie J. Preston is the Arvind and Chandan Nandlal Kilachand Professor and Director of Kilachand Honors College, Professor of English and Women's, Gender, & Sexuality Studies, and the founding Associate Director of the Center on Forced Displacement at Boston University. She is the author of Modernism's Mythic Pose: Gender, Genre, & Solo Performance and Learning to Kneel: Noh, Modernism, & Journeys in Teaching.

Table of Contents

Part I The Troubling Pleasures of Complicit ParticipationIntroductionChapter 1. Blackfaced at The Blacks: Complicit Participation in Jean Genet's Lessons on RacePart II The Melodramatics of American RacismChapter 2. Dion Boucicault's The Octoroon and the Loudly Immersed Audiences of Nineteenth-Century MelodramasChapter 3. Hissing, Bidding, and Lynching at Branden Jacobs-Jenkins's An OctoroonPart III Dueling on BroadwayChapter 4. Shuffle Along . . . the Campaign TrailChapter 5. Hamilton ParticiNation in Diversity and Its DiscontentsPart IV Act II or Just Another Talkback?Chapter 6. Doing Time in Anna Deavere Smith's Act IIChapter 7. Playing The White Card with Claudia RankineCoda
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