W・E・B・デュボイスの人種をめぐる演劇的戦略

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  • W.E.B. DuBois' Strategies concerning Race in the Historical Pageant <i>George Washington and Black Folk</i> (1932)
  • W・E・B・デュボイスの人種をめぐる演劇的戦略 : モダン・パジェント『ジョージ・ワシントンと黒人』(一九三二)を中心に
  • W ・ E ・ B ・ デュボイス ノ ジンシュ オ メグル エンゲキテキ センリャク : モダン ・ パジェント 『 ジョージ ・ ワシントン ト コクジン 』(イチキュウサンニ)オ チュウシン ニ
  • ──モダン・パジェント『ジョージ・ワシントンと黒人』（一九三二）を中心に──

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<p>W.E.B. DuBois (1868-1963) was a historian, sociologist, and one of the greatest black civil rights activists in the twentieth-century US. Of his enormous body of work, two historical pageants—The Star of Ethiopia (1913) and George Washington and Black Folk (1932)—have attracted little attention from researchers. Yet, rather than to just take advantage of the boom in popularity of historical pageantry in the US between the 1900s and the early 1940s, DuBois employed this theatrical form particularly as a cultural and artistic conveyer to visualize his thoughts concerning social upliftment and dispelling “double-consciousness.” This paper first explains the nationalistic characteristics of this theatrical genre and its affinity with the black movement. It then discusses that DuBois made the most of historical pageantry to realize his idea of social upliftment, involving both black and white citizens. His first pageant, The Star of Ethiopia, shows DuBois made the most of historical pageantry to convey his strong messages only to the black citizens, but not the white. However, in the second pageant, George Washington and Black Folk, he elaborately set devices to attract white citizens. Yet, as his true goal still lies in conveying strong nationalistic messages to his people, he slips in impressive episodes concerning achievements of black characters, including Crispus Attucks and Toussaint Louverture, into the existing white-centric American history. Approaching these pageants from the viewpoint of theatrical studies will cast light on the fact that DuBois adapted his racial strategy into pageantry, which was extremely popular among the white Americans then, as well as his desperate search for realizing social upliftment through theater.</p>

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