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LIVING HISTORY AS PERFORMANCE PDF

210 Pages·2006·0.65 MB·English
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LIVING HISTORY AS PERFORMANCE: AN ANALYSIS OF THE MANNER IN WHICH HISTORICAL NARRATIVE IS DEVELOPED THROUGH PERFORMANCE Megan Mateer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2006 Comite: James Forse, Advisor Wiliam Armaline Graduate Faculty Representative Jonathan Chambers Cynthia Baron © 2006 Megan Mateer All Rights Reserved iii ABSTRACT Dr. James Forse, Advisor Throughout the twentieth century, historians have sought a variety of new ways to engage history, many through the use of performance techniques. New methodologies aided by technology have allowed historians to gain new insights into the past and share those insights with the public. In this study I examine how four methodologies have influenced each other in attempt to achieve this goal: two living history museums: Colonial Williamsburg and Plimoth Plantation; one outdoor historical drama, Trumpet in the Land; three examples of experimental archaeology: the Pamunkey Project, Buckskinners, and the Washburn-Norlands Center; and two PBS productions about living in the past: Frontier House and Colonial House. These categories have two things in common. First they are all attempting to examine some aspect or event from the past, second they all use performance techniques to do this. My argument for this study lies in a two-fold examination. First, in discussing the constructs of each of these methodologies, I argue that it is apparent that the first three categories have been highly influential in the development of the fourth. Second, the misuse of performance techniques has proven ultimately problematic for the PBS productions in their declared efforts to take a step back in time. With the exception of the outdoor historical dramas, which I use as an obvious example of performance and history coming together, those involved with the other categories tend to distance themselves from being associated with other theatrical endeavors believing that such an association diminishes their efforts. These attitudes tend to be based in antitheatrical sentiments which prove to be counter productive to their goals of better engaging past. iv ACKNOWLEDGEMENTS The accomplishment of this degree could not have happened without the encouragement and support of my friends, family, and colleagues. I would like to first acknowledge the patience and diligence of my advisor, Jim Forse. His help in the molding of this work was the perfect balance of advising and listening that allowed me room to express myself while maintaining a professional focus in the writing. As I entered the final throws of completing my dissertation, my committee members, Cynthia Baron, Jonathan Chambers, and Bill Armaline, guided me toward completion with their helpful and insightful advice into my work. Yonghee Lee, Michael Coon, and Nancy Kennedy were fellow students also working toward their PhDs in the same program of study. We were there for each other through the ups and downs of being graduate students. I am the last of the cadre to walk the final mile. This process has been especially trying on my family who has been patient and supportive in their expectation of not only me but also my sister in achieving doctoral degrees. Through the delays and frustrations, they have always been there with encouraging words. Last but definitely not least, I wish to give my heartfelt thanks to Tracy Tupman. His help in the research and editing of this work was invaluable. Above all, he never allowed me to become discouraged. He lived with me through this process as I lived through his, always there with encouragement or chocolate. The list goes on too long for me to be able to thank all those I wish to thank. If you were not mentioned by name, know that you are in my grateful heart. v TABLE OF CONTENTS INTRODUCTION ................................................................................................................. 1 Living History................................................................................................................ 2 Nostalgia and Counter Memory..................................................................................... 4 Antitheatricalism............................................................................................................ 7 Performance and Acting ................................................................................................ 9 Performance Reconstruction as Historic Analysis......................................................... 14 Precise Nature and Scope of this Study ......................................................................... 16 Literature Review........................................................................................................... 20 Organization................................................................................................................... 27 CHAPTER 1. LIVING HISTORY ........................................................................................ 28 The Idea of History ....................................................................................................... 28 Museum Collections to “Living” Museums ................................................................. 31 Social History................................................................................................................ 37 Performing History ....................................................................................................... 40 Conclusion .................................................................................................................... 42 CHAPTER 2. “HISTORY” ON STAGE............................................................................... 44 History as Theatre .......................................................................................................... 44 Introduction .................................................................................................... 44 In the Beginning ............................................................................................. 45 Early America................................................................................................. 46 Outdoor Historical Drama.............................................................................................. 53 vi Trumpet in Land............................................................................................................. 56 Conclusion .................................................................................................................... 60 CHAPTER 3. LIVING HISTORY MUSEUM...................................................................... 62 Colonial Williamsburg: A Patriotic Performance......................................................... 62 The Early Years.............................................................................................. 63 Post WWII ...................................................................................................... 66 1960s............................................................................................................... 69 1970s – Present............................................................................................... 70 Performance.................................................................................................... 71 Summary......................................................................................................... 78 Plimoth Plantation.......................................................................................................... 82 Conclusion ..................................................................................................................... 94 CHAPTER 4. EXPERIMENTAL ARCHEOLOGY ............................................................. 96 Introduction.................................................................................................................... 96 Pamunkey Project ......................................................................................................... 104 Buckskinners................................................................................................................. 107 Introduction .................................................................................................... 107 NMLRA.......................................................................................................... 108 Rendezvous..................................................................................................... 110 White Oak Society.......................................................................................... 115 Summary......................................................................................................... 117 Washburn-Norlands Living History Center................................................................... 118 Conclusion ..................................................................................................................... 121 vii CHAPTER 5. LIVING HISTORY AND TELEVISION ...................................................... 123 Introduction.................................................................................................................... 123 The “Real” on Television............................................................................................... 124 Reality TV ...................................................................................................... 126 “Real” People ................................................................................................. 128 Video Diaries.................................................................................................. 131 Summary......................................................................................................... 134 Time Travelers on Television ........................................................................................ 135 The Frontier House........................................................................................................ 139 Colonial House .............................................................................................................. 146 Conclusion .................................................................................................................... 155 CHAPTER 6. CONCLUSION............................................................................................... 160 But is it history? ............................................................................................................ 160 We are not actors! ......................................................................................................... 160 History vs. Theatre? ...................................................................................................... 168 Role-playing for Television .......................................................................................... 170 Do these experiences help in understanding history? ................................................... 176 Summary ........................................................................................................................ 177 BIBLIOGRAPHY.................................................................................................................. 181 APPENDIX A LIVING HISTORY SITES .......................................................................... 193 APPENDIX B EXPERIMENTAL ARCHEOLOGICAL SITES......................................... 202 1 INTRODUCTION History and Performance: The Museum Comes Alive Theatre and historical methodology have long standing links. As ancient men regaled their audiences with their adventures and excitement of the hunt, they were engaged in performing a version of historic narrative. As the Greek poets told and retold the story of the Iliad and the Odyssey, they were performing what they believed happened in the past. In fifth- century BCE Athens, performances of Greek legends and history would be expanded to full productions on a stage with actors, costumes, masks, and props. Medieval theatre in Western Europe sought to portray and teach the events of Biblical history. The Shakespearean stage sought to perform England’s history, and down to the present day historic events have been played out on the stage and screen as a means of engaging the past, and as a way to understand or come to terms with the significance of those events. Though critics have questioned the historical authenticity of these representations, the act of performing history is as old as theatre itself. Conversely, the same cannot be said of historians using performance to further their understanding of history. As performers have combed the history books for dramatic material, historians have been slow in recognizing the advantages of performance as a means of accessing this same history. It was only in the twentieth century that some historians have come to realize that “living” the history may afford new insights into the past. This realization has led to the rise of living history museums. Even though these museums have extensive public popularity, academia still does not readily recognize their reenactments as legitimate historic research. Yet, the development of the history museum has led to the merging of performance and history in the attempt to bring history alive to the general public and researchers a living laboratory through which first hand simulations of historical possibilities can be posited. The most recent manifestation of living history has been edited televised productions that document the experience of families living in carefully constructed time capsules. Beginning in 2 1999, such programs have been airing on BBC and PBS: The 1900 House, Frontier House, 1940s House, Manor House, The Ship, and Colonial House. The premise of these shows is based on several families volunteering to live in a reconstruction of another time for a specified period of time. This new approach to historical engagement is a product of the influence of various other constructs: the living history museums, experimental archeology and reality TV. Performance has been an integral part of these creations. The use of performance techniques in the television productions has taken attributes of these methodologies to create a new form of “living history.” Living History The phrase “living history” can have different meanings depending on where the emphasis is put, either living history or living history. The first refers to history that is brought alive, the second history that is lived. The distinction is subtle. An example of the first would be living history museums, the second would be about people like the Buckskinners whereby historical recreation is part of a lifestyle choice. An exploration into the first is necessary to understand the genesis of the second. Institutions that seek to bring history alive are referred to under a variety of names: outdoor history museums, open-air museums, or living history museums. Whatever they may be called, these museums represent a further development of historic preservation that attempts to access history through live performance. Jay Anderson has written several books about living history and the history of living museums. He defines living history as “an attempt by people to simulate life in another time” (“Living” 291). Anderson has determined that there are three basic reasons why people become involved with living history projects: To interpret material culture more effectively, usually at a living museum; to test an archeological thesis or generate data for historical ethnographies; and to participate in an enjoyable recreational activity that is also a learning experience . 3 . . It can be used as a research and interpretive tool for better understanding the culture of one’s counterparts in other times and places. It can also serve as a medium for acting out in a socially acceptable behavior not commonly encountered in the contemporary world; for example, dressing up in armour and fighting with swords and shields, hunting wild game with the muzzle loader. (“Living” 291) Along with this definition, he acknowledges the performative quality found in living history. It is obviously theatrical with its use of costume (period clothing), props (artifacts), sets (historical sites), role playing (identifying with historical characters), and the designation of time in space as special and somehow not part of our ordinary everyday world. (“Living” 291) Through living history projects, two differing disciplines, history and theatre, have come together to take the past away from the two-dimensional narrative found in books and create a three-dimensional portrayal of the past. The living museum developed from the random collection of artifacts displayed in early museums to the categorizing and organizing of these artifacts in later museums, to contextualizing artifacts historically in dioramas, to historic simulations in life size dioramas. The performative quality of these living history projects introduces a new dynamic. In a living museum, an individual can see, hear, touch, and smell the history come alive around him or her. This is exemplified at Plimoth Plantation where one can see reconstructions of the houses and “inhabitants” roaming the dirt street; hear the barnyard animals and wood being chopped; smell lunch being cooked over an open hearth and possibly have a taste. Yet, for some attendees, to merely see, hear, touch, and smell the history is not enough. They yearn to physically experience the history for themselves, “participate in an enjoyable recreational activity that is also a learning experience” (“Living” 291). These are the people who wish to live the history. Away from museums, archeology, and other scholarly endeavors, groups of ordinary people whose only qualifications may lie in a deep seated interest in a given

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