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"Swindall, Lindsey R"
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The Politics of Paul Robeson's Othello
Lindsey R. Swindall examines the historical and political context of acclaimed African American actor Paul Robeson's three portrayals of Shakespeare's Othello in the United Kingdom and the United States. These performances took place in London in 1930, on Broadway in 1943, and in Stratford-upon-Avon in 1959. All three of the productions, when considered together, provide an intriguing glimpse into Robeson's artistry as well as his political activism.The Politics of Paul Robeson's Othello maintains that Robeson's development into a politically minded artist explicates the broader issue of the role of the African American artist in times of crisis. Robeson (1898-1976) fervently believed that political engagement was an inherent component of the role of the artist in society, and his performances demonstrate this conviction.In the 1930 production, audiences and critics alike confronted the question: Should a black actor play Othello in an otherwise all-white cast? In the 1943 production on Broadway, Robeson consciously used the role as a form for questioning theater segregation both onstage and in the seats. In 1959, after he had become well known for his leftist views and sympathies with Communism, his performance in a major Stratford-upon-Avon production called into question whether audiences could accept onstage an African American who held radical-and increasingly unpopular-political views. Swindall thoughtfully uses Robeson's Othello performances as a collective lens to analyze the actor and activist's political and intellectual development.
eBook
American Appetites
Designed to appeal to students of history and foodies alike,American Appetites, the first book in the University of Arkansas Press's new Food and Foodways series, brings together compelling firsthand testimony describing the nation's collective eating habits throughout time. Beginning with Native American folktales that document foundational food habits and ending with contemporary discussions about how to obtain adequate, healthful, and ethical food, this volume reveals that the quest for food has always been about more than physical nourishment, demonstrating changing attitudes about issues ranging from patriotism and gender to technology and race. Readers will experience vicariously hunger and satiation, culinary pleasure and gustatory distress from perspectives as varied as those of enslaved Africans, nineteenth-century socialites, battle-weary soldiers, impoverished immigrants, and prominent politicians. Regardless of their status or the peculiarities of their historical moment, the Americans whose stories are captured here reveal that U.S. history cannot be understood apart from an examination of what drives and what feeds the American appetite.
eBook
American appetites : a documentary reader / edited by Jennifer Jensen Wallach and Lindsey R. Swindall
American Appetites brings together compelling firsthand testimonies describing the nation's collective eating habits throughout times. Beginning with Native American folktales that document foundational food habits and ending with contemporary discussions about how to obtain adequate, healthful, and ethical food, this volume reveals that the quest for food has always been about more than physical nourishment, demonstrating how changing attitudes about issues ranging from patriotism and gender to technology and race all affect how we set out table and satisfy our appetites. Readers will vicariously experience hunger and satiation, culinary pleasure and gustatory distress from perspectives as varied as those of enslaved Africans, nineteenth century socialites, battle-weary soldiers, impoverished immigrants, and prominent politicians. Regardless of their status or the peculiarities of their historical moment, the Americans whose stories are captured here reveal that US history cannot be understood apart from an examination of what drives and what feeds the American appetite.
eBook
Robeson’s Othello on Broadway
In his bookCreating a Role, the influential theorist of dramaturgy Constantin Stanislavsky created a framework through which an actor could approach a new role. He maintained the fundamental importance of understanding the play in its entirety in order to place the character one was portraying into the broader context of the play itself. Stanislavsky suggested that the outer trappings of plot and circumstance would lead the actor to discover the true inner mysteries of the character. He posited, “There is a direct bond between the internal and external circumstances of a play…. It is difficult to assess them separately.
Book Chapter
The Politics of Paul Robeson's Othello
Lindsey R. Swindall examines the historical and political context of acclaimed African American actor Paul Robeson's three portrayals of Shakespeare's Othello in the United Kingdom and the United States. These performances took place in London in 1930, on Broadway in 1943, and in Stratford-upon-Avon in 1959. All three of the productions, when considered together, provide an intriguing glimpse into Robeson's artistry as well as his political activism.The Politics of Paul Robeson's Othello maintains that Robeson's development into a politically minded artist explicates the broader issue of the role of the African American artist in times of crisis. Robeson (1898-1976) fervently believed that political engagement was an inherent component of the role of the artist in society, and his performances demonstrate this conviction.In the 1930 production, audiences and critics alike confronted the question: Should a black actor play Othello in an otherwise all-white cast? In the 1943 production on Broadway, Robeson consciously used the role as a form for questioning theater segregation both onstage and in the seats. In 1959, after he had become well known for his leftist views and sympathies with Communism, his performance in a major Stratford-upon-Avon production called into question whether audiences could accept onstage an African American who held radical-and increasingly unpopular-political views. Swindall thoughtfully uses Robeson's Othello performances as a collective lens to analyze the actor and activist's political and intellectual development.
eBook
I Give of My Talents to the People
“Robeson … in more senses than one, IS the play,” Samuel Putnam asserted in his review ofOthelloon Broadway. Similarly, Mike Gold believed that “Paul Robeson is the greatest personality in America today, the richest force for American democracy and art.” Nathaniel Buchwald also suggested, “Yes, the great, the original, the compelling, the revealing element in Paul Robeson’s Othello is Paul Robeson.” These writers all signaled an important theme emerging from that record-breaking production. It was Robeson: his charisma, his persona, his countenance and physical comportment that coalesced onstage brilliantly and powerfully as Othello. These elements, however, were present
Book Chapter
Robeson, Othello, and the Politics of the Cold War
“My Pop’s influence is still present in the struggles that face me today. I know he would say, ‘Stand firm, son; stand by your beliefs, your principles.’ You bet I will, Pop—as long as there is a breath in my body.”¹ This avowal, which appeared in his monthly column inFreedomnewspaper, was indicative of Robeson’s steadfast posture throughout the most repressive period of his career. The metaphor of Robeson being as solid as a majestic oak had appeared in the reviews of his Othello on Broadway and was evoked again in 1951 when cold war politics were jeopardizing
Book Chapter
An Introduction to Shakespeare’s Othello
Most scholars agree that Shakespeare’sOthellowas written between 1603 and 1604, with its first recorded performance being staged in 1604. The King’s Men, the company with which Shakespeare was a affiliated, producedOthelloon the first of November. King James had recently ascended to the English throne upon the death of Queen Elizabeth the prior year. It was, thus, a time of political transition in Britain. Times were also evolving for Shakespeare, whose company had previously been designated as The Lord Chamberlain’s Men.¹ As with many of Shakespeare’s plays, the plot ofOthellowas not original. In this case,
Book Chapter