By R. Wattenberg
Frontier dramas have been one of the most well-liked and profitable of early-twentieth-century Broadway kind performs. The lengthy runs of latest dramas not just point out the recognition of those performs but in addition let us know that those performs provided perspectives in regards to the frontier that unique audiences may possibly and did include.
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Additional info for Early-Twentieth-Century Frontier Dramas on Broadway: Situating the Western Experience in Performing Arts
Sample text
The future president made his first extended trip to the West in 1884, when, after suffering personal tragedy (the deaths of his mother and wife in rapid succession) and political setbacks, he took refuge on his ranch in the Dakota Badlands. Here, Roosevelt was reinvigorated by the challenges of western life. Throwing himself fully into the cowboy’s life, Roosevelt represented what Earl Pomeroy has described as a Frontier Western Discourse 41 “heartily masculine approach to the West, in contrast to the predominantly feminine approach of the Raymond tourists,” but, as Pomeroy continues, “there was an adolescent quality to his maleness, a disposition to take the West not in stride but with a leap and a whoop”—that is, for Roosevelt the West was “a great playground,”74 not a place to live in, as it was for Turner.
57 For Turner, the sequential triad—savagery, barbarism, and civilization—defined by Morgan is reshaped into a dyad of savagery, defined in terms of wilderness environment including Indians and their culture, and civilization, defined in terms of the white pioneer. Turner’s “frontier thesis” is rooted, then, in Darwinian social evolutionary assumptions, which present the movement from simple primitive savagery to complex civilization as unidirectional; however, in Turner’s view of the interaction of savagery and civilization, there is movement in both directions.
Although the sharp distinctions made between binary opposites in a text are never as final or stable as they seem to be after a cursory reading—thus opening the door for post-structuralist deconstructions of the text—the hierarchies that shape a text suggest the “ideological” biases or “truth” assumptions inherent in it. For instance, early-nineteenth-century romantics reacting against what they viewed as an inflexible rationalism that bolstered a repressive social/political status quo could tout “savagery” as an original purity, a positive.