Titlebook: Rogue Performances; Staging the Undercla Peter P. Reed Book 2009 Peter P. Reed 2009 America.Caribbean.culture.drama.imagination.opera.perfo

Harridan

Algerians, Renegades, and Transnational Rogues in ,erian captivity had some durability. In 1816, for example, at the end of another American conflict with the Barbary pirates, the play reappeared in Boston.. . participated in a broader theatre culture of “acting Algerian,” showing how offstage performances infuse early American theatre.

Flagging

Atlantic Underclasses and Early American Theatre Culture,event reveals the contours of circumatlantic theatre culture. It started with a young girl’s struggle with parental authority: a teenage actress named Ann Brown eloped and fled her apparently controlling father. Mr. Brown, opposed to the fast-living theatre world, forcibly carried her away from Lond

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Ossification

Venules

Muscularis

Class, Patronage, and Urban Scenes in ,rban and racialized low. Such acts always seem to carry competing charges. Theatre subjects its undersiders under surveillance, but that proximity places outcasts in America’s own neighborhoods. The stage imagines ways of controlling with the low, but that often requires intimate interactions with d

Microgram

Slave Revolt and Classical Blackness in ,tionships to the forms of stage blackness. Robert Montgomery Bird’s . ., a melodrama of Roman slave revolt, is one such play Transforming the antebellum low into neoclassical rebels at the Park Theatre, it enacts the problems of redeeming and fitting plebeian types into the selective traditions of A

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2947-5767 men, thieves, beggars, rioting mobs, rebellious slaves, and mutineers dominated the stage in the period s most popular plays. Peter Reed also explores ways these characters helped to popularize theatrical forms such as ballad opera, patriotic spectacle, blackface minstrelsy, and melodrama. Reed show