Throughout nineteenth century America, religious officials often condemned the theatre as an inversion of the house of God, similar to the church in architectural structure and organization but wholly different in purpose and values. This book explores the many ways in which religious institutions supported by capitalism profoundly affected the early development of American theatre. The author analyzes the church's critical view toward common theatre practices, including the use of female and child performers, and the lower class alliance with the stage. Three appendices provide period correspondence, including an excerpt from Mark Twain's February 1871 qMemoranda, q in which Twain criticizes an Episcopalian reverend for denying church burial to a popular stage comedian.Alexander Do Mara#39;s Othello, for example, first performed in Wooda#39;s Theatre in Ai 850, transformed the usual Shakespearean cast into a band of ragged, down-and -out minstrels who proceed to create Othelloa#39;s great rage with a bar of soapa it is suaicient that he foam at the mouth by ... The rustics spend their days working at white-washing jobs, avoiding imprisonment for debt on Blackwella#39;s Island, andanbsp;...
|Title||:||Church and Stage|
|Author||:||Claudia Durst Johnson|
|Publisher||:||McFarland - 2007-11-07|