Özet:

Abstract Abstract: A nineteenth-century American actor named Thomas Rice was sensationally popular as a blackface character named Jim Crow. His popularity is credited with giving birth to blackface minstrelsy as others began to imitate him in the hope of emulating his success. Rices Jim Crow provided a name for laws and customs designed to repudiate the emancipation of African slaves. Blackface minstrelsy staged an idealized version of slave life on a southern plantation. Paradoxically, as blackface revoked the emancipation of slaves on stage, it emancipated the American theatre from its British origins and its audience of recently immigrated laborers from a low social position. It even occasionally performed an ironic reversal of the subaltern status of the very African slaves whose freedom by proclamation and constitutional amendment the performance sought to negate. Contradictions in the history of blackface performance in the United States stage American anxieties about race, class, emancipation, and the very construction of the concepts of blackness and whiteness.

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