Pioneer Performances offers the first synoptic treatment of the history of American frontier performance ranging from Jacksonian America to Buffalo Bill's Wild West show at the Columbian Exposition of 1893. It reconceives how the frontier was-and still is-defined in performance, and what it means for that frontier to be called "American. "
Pioneer Performances offers the first synoptic treatment of the history of American frontier performance ranging from Jacksonian America to Buffalo Bill's Wild West show at the Columbian Exposition of 1893. It reconceives how the frontier was-and still is-defined in performance, and what it means for that frontier to be called "American. "
Matthew Rebhorn is Assistant Professor of English at James Madison University.
Inhaltsangabe
* Table of Contents * Introduction Manifest Destinies: Buffalo Bill, Gowongo Mohawk, and the Genealogy of American Frontier Performance * Chapter One: * Edwin Forrest's Redding Up: Elocution, Theater, and the Performance of the Frontier * Chapter Two: * The Swamp Aesthetic:James Kirke Paulding's Frontiersman and the American Melodrama of Wonder * Chapter Three: * The Burnt-Cork Pioneer: T. D. Rice and Minstrelsy's Frontier History * Chapter Four: * What Is It?: The Frontier, Melodrama, and Boucicault's Amalgamated Drama * Chapter Five: * The Great Divide: Pioneer Performances after the Civil War * Afterword * Bibliography
* Table of Contents * Introduction Manifest Destinies: Buffalo Bill, Gowongo Mohawk, and the Genealogy of American Frontier Performance * Chapter One: * Edwin Forrest's Redding Up: Elocution, Theater, and the Performance of the Frontier * Chapter Two: * The Swamp Aesthetic:James Kirke Paulding's Frontiersman and the American Melodrama of Wonder * Chapter Three: * The Burnt-Cork Pioneer: T. D. Rice and Minstrelsy's Frontier History * Chapter Four: * What Is It?: The Frontier, Melodrama, and Boucicault's Amalgamated Drama * Chapter Five: * The Great Divide: Pioneer Performances after the Civil War * Afterword * Bibliography
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