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This is a scholarly journal of the largest regional theatre organization in the U.S. The essays gathered together in Volume 15 of the annual journal ""Theatre Symposium"" investigate how, historically, the theatre has been perceived both as a source of moral anxiety and as an instrument of moral and social reform. The essays consider, among other subjects, ethnographic depictions of the savage ""other"" in Buffalo Bill's engagement at the Columbian Exposition of 1893; the so-called ""Moral Reform Melodrama"" in the nineteenth century; charity theatricals and the ways they negotiated standards of middle-class respectability; the figure of the courtesan as a barometer of late nineteenth and early twentieth-century moral and sexual discourse; Aphra Behn's subversion of Restoration patriarchal sexual norms in The Feigned Courtesans; and the controversy surrounding a production of Tony Kushner's ""Angels"" in America, during which officials at one of the nation's more prominent liberal arts colleges attempted to censor the production, a chilling reminder that academic and artistic freedom cannot be taken for granted in today's polarized moral and political atmosphere.
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A few weeks prior to the submission deadline for this volume of Theatre Symposium, the murder of George Floyd by officers of the Minneapolis Police Department sparked a movement for racial justice that reverberated at every level of US society. At predominantly and historically white academic institutions (including Theatre Symposium and its parent organization, the Southeastern Theatre Conference) leaders were compelled, as perhaps never before, to account for the role of systematic racism in the foundation and perpetuation of their organizations. While the present volume’s theme of “Theatre and Race” was announced in the waning days of 2019, the composition and editing of the issue’s essays were undertaken almost entirely within the transformed cultural and professional landscape of 2020. Throughout its twenty-nine years of publication, Theatre Symposium’s pages have included many excellent essays whose authors have deployed theories of race as an analytical framework, and (less often) treated BIPOC-centered art and artists as subject. The intent of the current editors in conceiving this issue was to center such subjects and theorizations, a goal that has since taken on a more widely recognized urgency.Taken together, these twelve essays represent a wide range of scholarly responses to the theme of “theatre and race.” The fact that there is so much to say on the topic, from so many different perspectives, is a sign of how profoundly theatre practices have been—and continue to be—shaped by racial discourses and their material manifestations.