{"id":549632,"date":"2023-02-14T09:50:20","date_gmt":"2023-02-14T14:50:20","guid":{"rendered":"https:\/\/www.rochester.edu\/newscenter\/?p=549632"},"modified":"2023-05-17T10:37:07","modified_gmt":"2023-05-17T14:37:07","slug":"changing-narrative-about-blackness-the-crucible-tituba-549632","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/changing-narrative-about-blackness-the-crucible-tituba-549632\/","title":{"rendered":"Changing the narrative about Blackness on the stage"},"content":{"rendered":"

By partnering with Black actors and artists, the International Theatre Program\u2019s recent productions help give new dimension to marginalized characters.<\/h2>\n

Like many dramatizations based on real-life events, Arthur Miller\u2019s The Crucible<\/em> blurs the line between fact and fiction. The award-winning play presents a fictionalized account of colonial America\u2019s Salem witch trials during the late 17th century.<\/p>\n

Most historians agree that there are significant differences between the historical record and the actions of the play. Miller, who wrote the play in the 1950s as an allegory about the McCarthy trials occurring during his time, was working with available records. The result is an artistic interpretation, one that includes the small but pivotal role of Tituba, based on a real-life enslaved woman.<\/p>\n

Although Miller\u2019s play indicates the character is from Barbados, \u201cTituba was not African, nor was she from Barbados,\u201d according to Michael Jarvis<\/a>, a professor of history at the University of Rochester<\/a> whose expertise includes transnational history spanning the 15th through 19th centuries. Instead, records describe Tituba as being an [Indigenous] Indian. \u201cBut since she\u2019s an enslaved person in the documents, Miller implies [her Barbadian origin] in his narrative,\u201d he said during a public panel discussion titled \u201cFinding Tituba\u2019s Voice: Performing BIPOC Characters in White Spaces<\/a>.\u201d<\/p>\n

Fellow panelist Jeffrey McCune Jr.,<\/a> the Frederick Douglass Associate Professor of African American Literature and Culture and the director of the Frederick Douglass Institute for African and African-American Studies<\/a>, added that the implication that Tituba is Black \u201cmakes her perceptibly an enslaved person. It also makes her perceptibly devalued, part of the lineage of the colonized.\u201d<\/p>\n

\"Kat
The University\u2019s International Theatre Program tapped Kat Rina Davis, a local actor and community advocate, to collaborate on its production of The Crucible<\/em> and to play the role of Tituba. (University of Rochester \/ J. Adam Fenster)<\/figcaption><\/figure>\n

Understanding Tituba, engaging the community<\/strong><\/h3>\n

Jarvis\u2019s and McCune\u2019s insights were made during a discussion about history, authenticity, performance, race, and the performance of race\u2014a discussion spurred by the International Theatre Program<\/a>\u2019s fall 2022 production of The Crucible<\/em>.<\/p>\n

\u201cThe goal of the theater program has been to show serious works of theater that have resonance and also entertain our audiences,\u201d says Nigel Maister<\/a>, the Russell and Ruth Peck Artistic Director of the International Theatre Program.<\/p>\n

Yet as new generations of actors and students take the stage, the theater industry has had to examine its assumptions and biases, particularly with regard to marginalized characters in classic or canonical works. To do so effectively at Rochester, Maister tapped Kat Rina Davis<\/a>, an award-winning local actor and community advocate, to collaborate and to play the role of Tituba in Rochester\u2019s production. In addition to roles in stage plays, short films, and web series, Davis has played Anna Murray Douglass\u2014an American abolitionist, a member of the Underground Railroad, and the first wife of Frederick Douglass\u2014in Watch Night 1862<\/em> by Delores Jackson Radney (Radney, a theater artist and community educator, is also the program manager for MAGconnect<\/a> at the University\u2019s Memorial Art Gallery).<\/p>\n

Having a community member join a campus production\u2014as a performer, an instructor, or both\u2014can help the program as a whole become more inclusive. \u201cWhen we have the privilege of working with diverse actors in our spaces, we\u2019re always asking about how we do that as responsibly and healthily as possible,\u201d says Sara Penner<\/a>, a senior lecturer in the program who was the acting and voice coach for the cast of The Crucible<\/em>.<\/p>\n

For her part, Davis agreed to play Tituba as long as she could dig into the character while taking part in the ongoing conversation exploring the character\u2019s role and identity. \u201cI can give [Tituba] a voice,\u201d recalls Davis. \u201cShe deserves all that I can give her.\u201d<\/p>\n

\"Students
Undergraduate student Jack Moore (second from right) as Reverend John Hale, guest artist Kat Rina Davis (far right) as Tituba, and their fellow performers onstage during the first act of the International Theatre Program\u2019s production of The Crucible<\/em> in Sloan Performing Arts Center. (University of Rochester photo \/ J. Adam Fenster)<\/figcaption><\/figure>\n

Maister, Davis, the students, and the other participants collaborated to bring a version of Tituba to the stage who is \u201cvery aware of what she\u2019s doing, and it\u2019s not coming from a place of fear,\u201d Maister explains. Tituba\u2019s agency reaches its pinnacle at the end of the first act, when the character confesses to seeing the devil. Participating in both the production and the related panel discussion resonated with Davis in ways that conveyed a clear message, she says: \u201cWe don\u2019t only see you, we also hear you.\u201d<\/p>\n

But bringing community members into the program also benefits the Rochester undergraduates who learn from the experience and professionalism of area actors.<\/p>\n

Manita Opoku \u201926, who played the role of Susanna Walcott in the production, was impressed by the commitment that community actors like Davis brought to the process. \u201cAs students, we\u2019re invested in our studies, classes, and extracurriculars,\u201d says Opoku. \u201cSeeing someone like Kat come in from outside school to act with a busy ongoing life schedule\u2014you could see it was her passion,\u201d Opoku says.<\/p>\n

Transforming the theater experience for BIPOC actors and audiences<\/strong><\/h3>\n

Centering Tituba during the semester and the production allowed the International Theatre Program not only to bring diverse representation to the stage at the Sloan Performing Arts Center, but also to highlight the challenges faced by BIPOC (Black, Indigenous, and people of color) theater actors.<\/p>\n

\u201cYou\u2019re asking an actor to display their emotions for your entertainment,\u201d says Esther Winter<\/a>, an adjunct faculty member in the Rochester theater program and a member of Geva Theatre Center\u2019s Artistic Council. \u201cA real question I ask myself before choosing a play is, \u2018What is this theater trying to say in this piece? And what is this piece saying about what they think of people who look like me?\u2019\u201d<\/p>\n

Asking such questions\u2014of oneself and of others\u2014is a crucial first step to making theater spaces more inclusive, a step the program intends to continue with its future productions.<\/p>\n

\u201cOver the years, we\u2019ve intentionally broadened the reach of the program into the Rochester community\u2014and we\u2019re now trying to broaden that reach to communities of color specifically,\u201d Maister says.<\/p>\n

\"Black
Rochester undergraduates Cayen Moore (front left), Onosejere (Ono)\u00a0Ugbenin (front right), Tysherra Ohikhuare (back left), and Manita Opoku (back right) in The African Company Presents Richard III<\/i>, which brings Kat Rina Davis back to campus as the production\u2019s acting coach and welcomes\u00a0Jamaican performer, producer, educator, and activist Vernice Miller as guest director.\u00a0(University of Rochester photo \/ J. Adam Fenster)<\/figcaption><\/figure>\n

For example, every four years or so, the International Theatre Program commissions, produces, and premieres a brand-new play from an upcoming playwright. The New Voices Initiative supports early-career playwrights while educating Rochester students about the artistic process. Before the The Crucible<\/em>, the theater program presented Fellowship<\/em><\/a>, a play by Asian American playwright Sam Chanse. Contemplating ideas of privilege and identity, the work explores what happens when college-age activists are brought together as part of an internship for a respected grassroots social justice organization. The world premiere<\/a> of the play, which was held in fall 2022 at the University\u2019s Sloan Performing Arts Center, featured an acting ensemble composed predominantly of performers of color.<\/p>\n

And for its next production, according to Maister, the International Theatre Program hopes to show a different paradigm of Black theatricality on the stage: The African Company Presents Richard III<\/em><\/a> by Carlyle Brown. The work, which is based on the story of the first African American theater company, brings Davis back to campus as the production\u2019s acting coach, while welcoming Jamaican performer, producer, educator, and activist Vernice Miller<\/a> as guest director.<\/p>\n

\n

Read more<\/strong><\/h3>\n
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\"SydneyCan arts integration deepen students\u2019 understanding?<\/strong><\/a><\/p>\n

A partnership between City of Rochester schools and the Memorial Art Gallery leads to innovation in arts education and furthers the museum’s mission to serve the Greater Rochester community.<\/span><\/p>\n<\/div>\n

\n

\"twoSam Chanse play premieres at Sloan Performing Arts Center<\/strong><\/a><\/p>\n

Fellowship<\/em> is the latest production commissioned as part of the International Theatre Program\u2019s New Voice Initiative supporting early-career playwrights<\/span><\/p>\n<\/div>\n

\n

\"BlackIs gospel music losing its Black roots?<\/strong><\/a><\/p>\n

Musicologist Cory Hunter identifies a notable contemporary shift in the century-old musical form.<\/span><\/p>\n<\/div>\n<\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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