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Eric Colleary named as Cline Curator of Theater and Performing Arts

By Christine Lee

The Harry Ransom Center announces the appointment of Eric Colleary as Cline Curator of Theater and Performing Arts. In this position, Colleary will oversee research, access, and interpretation of the Ransom Center’s theater and performing arts materials.

“This appointment signals the Ransom Center’s continued commitment to its already deep theater and performing arts collections, and we can look forward to the many ways Eric will engage students and scholars in the thoughtful exploration of these holdings,” said Ransom Center Director Steve Enniss.

Colleary is currently a visiting professor of performance studies and history in the Department of Theatre and Dance at Macalester College in Saint Paul, MN. He holds a doctorate in Theater Historiography from the University of Minnesota. Previously, Colleary was an archivist and volunteer with the Tretter Collection of Gay, Lesbian, Bisexual and Transgender Studies at the University of Minnesota Libraries since 2009, where he organized the exhibition “Stonewall at 40: The Gay and Lesbian Rights Movement in America.” He currently serves on committees for the Theatre Library Association and the American Theatre Archives Project.

“The theater and performing arts collections at the Ransom Center are among the very best in the world,” said Colleary. “I am honored to be joining such a talented team, and I look forward to continuing to develop these collections and engaging with new audiences.”

The Ransom Center has extensive holdings of major American and British dramatists including David Hare, Lillian Hellman, David Mamet, Arthur Miller, George Bernard Shaw, Tom Stoppard, and Tennessee Williams, among others. Within these archives are manuscripts, correspondence, notes, photographs, and performance programs and ephemera.

The performing arts collections contain materials documenting a wide variety of performance genres in the United Kingdom and America. The collections feature holdings in theater, dance, costume and scenic design, opera, and popular entertainments, such as the circus, vaudeville, minstrel shows, puppetry, and magic. The creative process, from concept and staging to publication and revival, constitutes the primary focus of these collections.

Colleary begins his position on July 1.

Notes from the Undergrad: Archive, cultural consciousness, and a semester in the reading room

By Colin McLaughlin

Colin McLaughlin is a radio-television-film, rhetoric and writing, and Plan I Honors senior in Dr. Elon Lang’s “Drama in the Archives” course. In the class, students used resources at the Harry Ransom Center to better understand plays, texts, dramatists, cultures from which they are drawn, and the archival process itself. Below, McLaughlin shares his experience in the class.

 

You become accustomed to certain things after your tenth visit to the Ransom Center. The processes required for entry—presenting your ID card, dropping your backpack off in the locker, opening your computer —become automatic. What never becomes mundane is the experience of opening the folder, not knowing what you may discover inside.

 

I spent a lot of time with the Norman Bel Geddes concept pieces for the 1917 New York production of King Lear, both through class meetings and in my own time at the Ransom Center. These pieces represent some of Bel Geddes’s earliest work and are remarkable both because Bel Geddes was only 23 years old at the time and because the works have survived, despite the fact that the production they were commissioned for was never staged.

 

The almost abstract nature of the piece evokes the idea of a cultural subconscious and how—after centuries of productions and adaptations ranging from classic and minimal to bizarre (see the “King Lear: Godard Film” materials in Box 5 of the Thomas Fiske collection)—King Lear has transcended what can be normally preserved in photographs and film evidence.

 

I compared these pieces to the materials the Ransom Center holds on the Elia Kazan film adaptation of Tennessee Williams’s A Streetcar Named Desire for my final presentation in the “Drama in the Archives” class. I wanted to compare the photographic vs. non-photographic evidence in the archive. I was motivated by Matthew Reason’s words in Documentation, Disappearance, and the Representation of Life Performance: “performance only exists in the moment of its creation, and its only valid afterlife is in the memory of those who were there.”

 

Comparing the abstract Bel Geddes work on Lear to the more concrete publicity kits and script revisions for the Streetcar film led me to argue that, because of photographic documentation and the prevalence of the Kazan film and its iconic performances, modern texts like A Streetcar Named Desire are more solidified in the cultural consciousness, and thus performances of these texts are more concerned with preserving those original visions. Meanwhile, because no photographic evidence exists for the original productions of Lear, the text is freer to be interpreted and adapted in bold, artistic ways.

 

 

My final argument, the culmination of a semester studying drama in the archives, ended up being much simpler than I had originally intended. This surprised me. After weeks of coming to the archive, I learned that the answers we find in the boxes and folders of the archive, while extensive and often enlightening, may not always be as complicated as we expect them to appear.

 

Related content:

Drama in the Archives: Fall 2014 humanities class fosters undergraduate research

 

 

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Drama in the Archives: Undergraduate Research at the Ransom Center

By Jennifer Tisdale

After discussing his own work in the Harry Ransom Center’s archives with students in his Humanities classes, Dr. Elon Lang realized that despite his students’ interest in what he suggested could be learned from archival materials, very few had actually visited the Ransom Center and even fewer had contemplated doing research here.

 

Lang made it his mission to design a course that would show how the Ransom Center could serve as a valuable and approachable research tool for all interested users—especially The University of Texas at Austin’s undergraduates—and to show how much students could gain from working with archival materials.

 

With these goals in mind, Lang developed “Drama in the Archives,” a Humanities Honors course he taught in fall 2014.

 

During the semester, Lang brought students from his class to the Ransom Center at least once per week to learn about the Center and to learn how to conduct original primary research in the Center’s theater and performing arts collections.

 

He chose important plays as the subject matter for the class partly because of the Ransom Center’s impressive collections and partly because the consequences of creative choices that can be revealed in an archive become clear very quickly when analyzing dramatic texts.

 

After several weeks of guided readings and archival work, Lang had students develop their own research projects that involved close attention to an item in the Ransom Center’s collections and its historical and critical contexts.

 

Below, undergraduates describe the research they conducted and the discoveries they made while working with collections at the Ransom Center. They show how, with creativity and a bit of support, they were able to create a singular experience for themselves at the Ransom Center that greatly enhanced their undergraduate education.

 

Maureen Clark’s “Notes from the Undergrad: Student uses archival materials to explore Nietzschean nihilistic reading of Beckett’s ‘Waiting for Godot’”

 

Colin McLaughlin’s “Notes from the Undergrad: Archive, cultural consciousness, and a semester in the reading room”

 

Lily Pipkin’s “Notes from the Undergrad: Feeling Samuel Beckett’s pain and ‘Godot’ in German”

 

Emily Robinson’s “Notes from the Undergrad: Investigating the ending in David Mamet’s ‘Oleanna’”

 

Haley Williams’s “Notes from the Undergrad: An alternate ending for ‘A Streetcar Named Desire’”

 

Kenneth Williams’s “Notes from the Undergrad: Reviving Linda Loman in ‘Death of a Salesman’”

 

 

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Notes from the Undergrad: Reviving Linda Loman in “Death of a Salesman”

By Kenneth Williams

Kenneth Williams is an English and Plan I Honors student in Dr. Elon Lang’s “Drama in the Archives” course. In the class, students used resources at the Harry Ransom Center to better understand plays, texts, dramatists, cultures from which they are drawn, and the archival process itself. Below, Williams shares his experience in the class.

 

About 65 years after its publication, Arthur Miller’s Death of a Salesman remains one of the most recognizable pieces of American theater, telling the tragedy of Willy Loman as he falls from success and brings down his family with him. With almost seven decades of performances, what new effects can this play have on audiences, besides the ever-relative commentaries on capitalism? This question is what brought me to the archive at the Harry Ransom Center.

 

Many critics of the play comment on the patriarchal, abusive, and detrimental behaviors of Willy that bring down those around him and take away authority from characters that could rise above the play and stand up for themselves—specifically the play’s women. Not only are there very few women in the play, critics say, they are completely steamrolled by Willy’s selfishness and lack of respect. They characterize Linda as a slipper-bearing doormat who is only defined by domesticity, obedience, and a lack of self-respect. However, Miller’s stage directions and subtly in Linda’s lines, combined with the material available in the archive, reveal that she is not merely a plot device, but a wife and a mother who is fighting against the inevitable. Her character is defined by the psychology of caretaking—finding optimism in the darkest of situations and protecting the falling loved one from any form of hurt.

 

In the Ransom Center’s Stella Adler collection, there is a compilation of papers from her acting classes on Death of a Salesman. In one of her drafts of an introduction to a class, she laments the lack of respect paid toward Linda, wishing there were more scenes for the character because she is diverse and complex, but the text, as it is, leaves it up to the actress to add these extra layers. She teaches her actors that Linda’s overarching story is one that goes beyond the pages of the play and that she is a caring individual who has given up everything for herself to protect her family. Moreover, Miller himself, as expressed through his autobiography available at the Ransom Center, stands up for Linda and actresses playing her. He explains that Linda is a fighter who is able to keep the household running by herself while at the same time a strong caretaker offering her love and protection even in the darkest of situations.

 

Exploring the material available in the Arthur Miller collection and others at the Ransom Center was an absolute dream come true. It may seem nerdy, but the chance to analyze and inspect original documents and manuscripts has always been on my academic bucket list. There is so much to learn not just about a work from its archive, but also about all the things surrounding it, including biographical information, history, and correlations to other texts and archives. While it can seem overwhelming at times, archival work is truly rewarding, and the Ransom Center offers the perfect opportunity to experience such rewards.

 

Related content:

Drama in the Archives: Fall 2014 humanities class fosters undergraduate research

 

Receive the Harry Ransom Center’s latest news and information with eNews, a monthly email. Subscribe today.

 

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