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9780812238679

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A model for theatre scholarship on racial impersonation. -Theatre Journal Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity. -Doris Sommer, Harvard University A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended. -Choice

A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended. -Choice A model for theatre scholarship on racial impersonation. -Theatre Journal Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity. -Doris Sommer, Harvard University

A model for theatre scholarship on racial impersonation. -Theatre Journal Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity. -Doris Sommer, Harvard University A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended. -Choice

A model for theatre scholarship on racial impersonation. --Theatre Journal Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity. --Doris Sommer, Harvard University A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended. --Choice

Author Information

Jill Lane teaches theatre studies and American studies at Yale University.

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