{"id":12202,"date":"2011-02-21T03:09:09","date_gmt":"2011-02-21T03:09:09","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/wordpress\/?p=12202"},"modified":"2011-02-21T03:10:58","modified_gmt":"2011-02-21T03:10:58","slug":"accounting-for-the-audience-in-historical-reconstruction-martin-joness-production-of-langston-hughess-mulatto","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=12202","title":{"rendered":"Accounting for the Audience in Historical Reconstruction: Martin Jones&#8217;s Production of Langston Hughes&#8217;s Mulatto"},"content":{"rendered":"<p><strong><em><a href=\"http:\/\/dx.doi.org\/10.1017\/S0040557400006451\" target=\"_blank\">Accounting for the Audience in Historical Reconstruction: Martin Jones&#8217;s Production of Langston Hughes&#8217;s Mulatto<\/a><\/em><\/strong><\/p>\n<p><a href=\"http:\/\/journals.cambridge.org\/action\/displayJournal?jid=TSY\" target=\"_blank\">Theatre Survey<\/a><br \/>\n<a href=\"http:\/\/journals.cambridge.org\/action\/displayIssue?iid=6125284\" target=\"_blank\">Number 36, Issue 1<\/a>\u00a0(1995)<br \/>\npages 5-19<br \/>\nDOI: <a href=\"http:\/\/dx.doi.org\/10.1017\/S0040557400006451\" target=\"_blank\">10.1017\/S0040557400006451<\/a><\/p>\n<p><strong>Jay Plum, Ph.D.<\/strong><\/p>\n<p>Although <a href=\"http:\/\/en.wikipedia.org\/wiki\/Langston_Hughes\" target=\"_blank\">Langston Hughes&#8217;s<\/a> <em>Mulatto<\/em> holds the record as the second longest <a href=\"http:\/\/en.wikipedia.org\/wiki\/Broadway_theatre\" target=\"_blank\">Broadway<\/a> production of a play by an African American playwright (surpassed only by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Lorraine_Hansberry\" target=\"_blank\">Lorraine Hansberry&#8217;s<\/a> <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/A_Raisin_in_the_Sun\" target=\"_blank\">A Raisin in the Sun<\/a><\/em>), the reasons behind its commercial success have been virtually ignored. This oversight in part reflects a tendency among theatre scholars to treat the dramatic text as the primary (if not the only) source of a play&#8217;s meaning. In the case of <em>Mulatto<\/em>, academic critics have debated its literary merit according to questions of form and genre. <a href=\"http:\/\/www.utexas.edu\/faculty\/council\/1998-1999\/memorials\/Smalley\/smalley.html\" target=\"_blank\">Webster Smalley<\/a>, in his introduction to the collected plays of Langston Hughes, for instance, defends <em>Mulatto<\/em> as a tragedy, arguing that the play avoids the tendency of social dramas of the 1930s \u201cto oversimplify moral issues as in melodrama\u201d because of the recognition of Bert&#8217;s \u201ctragic situation\u201d (he must kill himself or be killed by an angry lynch mob). For those critics who insist that <em>Mulatto<\/em> is melodramatic, Smalley advises, \u201clet [them] look to the racial situation in the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Deep_South\" target=\"_blank\">deep South<\/a> as it is even today [i.e., 1963]: it is melodramatic.\u201d Smalley presupposes a dichotomous relationship between fiction and reality, advancing a mimetic theory in which representation directly corresponds to the real. Rather than answering specific charges, he defines contemporary race relations as melodrama, implying that <em>Mulatto<\/em>, even if melodramatic, is \u201cnatural\u201d and \u201caccurate.\u201d<\/p>\n<p>Read the entire article <a href=\"http:\/\/journals.cambridge.org\/action\/registration?page=shoppingBasket&amp;jid=TSY&amp;volumeId=36&amp;issueId=&amp;toBasket=6125312-20&amp;type=ppv&amp;sessionId=92B46B45321B674174AD1317A4E9E785.tomcat1\" target=\"_blank\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Accounting for the Audience in Historical Reconstruction: Martin Jones&#8217;s Production of Langston Hughes&#8217;s Mulatto Theatre Survey Number 36, Issue 1\u00a0(1995) pages 5-19 DOI: 10.1017\/S0040557400006451 Jay Plum, Ph.D. Although Langston Hughes&#8217;s Mulatto holds the record as the second longest Broadway production of a play by an African American playwright (surpassed only by Lorraine Hansberry&#8217;s A Raisin [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,1196,8,20],"tags":[5486,488,5487],"class_list":["post-12202","post","type-post","status-publish","format-standard","hentry","category-articles","category-literary-criticism","category-media-archive","category-usa","tag-jay-plum","tag-langston-hughes","tag-theatre-survey"],"_links":{"self":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/12202","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12202"}],"version-history":[{"count":0,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/12202\/revisions"}],"wp:attachment":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12202"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12202"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}