This thesis explores the ways in which Caucasian theatre makers can become more effective educators and directors in diverse student populations. By drawing attention to their “whiteness” and overcoming the fear of being implicated in the subjugation of these student populations, Caucasian theatre makers can instead embrace this implication and thereby transform classrooms and theatrical spaces from static appreciations of sovereignty and beauty, into platforms for resistance and revolt. In this thesis, I interrogate my own process in the direction of my multi-actor, undergraduate student production that was borne of the journey of the creation of my solo play entitled ANTIMAN. In this play, I implicate my family and our own racism and naiveté and the many challenges I faced in telling a story that explores such controversial subject matters as racism, antiblackness, colonialism, colonization, and settler-indigenous relations from my own white, male, heterosexual orientation. It is my hope that through this examination of both my failures and successes in this process of creating and directing ANTIMAN, in concert with the history of St. Croix, that I will articulate the present-day predicament of St. Croix in a manner that creates a space for discourse, resistance, and change.
|Advisor:||Williams, Jaye Austin|
|Commitee:||Caban, Andrea, O'Gorman, Hugh|
|School:||California State University, Long Beach|
|School Location:||United States -- California|
|Source:||MAI 58/01M(E), Masters Abstracts International|
|Subjects:||Caribbean Studies, Performing arts education, Performing Arts|
|Keywords:||Colonialism, History, Revolution, Solo performance, St. Croix, Theatre|
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