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dc.contributor.authorBüch, Michel
dc.date.accessioned2022-04-06T04:02:04Z
dc.date.available2022-04-06T04:02:04Z
dc.date.issued2022
dc.date.submitted2022-04-05T12:30:11Z
dc.identifierONIX_20220405_9783110752748_13
dc.identifier2698-5349
dc.identifierhttps://library.oapen.org/handle/20.500.12657/53712
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/80598
dc.description.abstractThis study originates in the observation that improv comedy or improvised theater has such a vast majority of white people practicing it, while other improvisational or comedic art forms (jazz, freestyle rap, stand up) are historically grounded in and marked as Black cultural production. What it is about improv that makes it such a white space? Can an absence be an object of study? If so, what is there to study? Where should one look?
dc.languageEnglish
dc.relation.ispartofseriesAmerican Frictions
dc.rightsopen access
dc.subject.otherImprov Comedy
dc.subject.otherWhitefacing
dc.subject.otherBlack Cultural Production
dc.subject.otherthema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism::DSB Literary studies: general::DSBH Literary studies: c 1900 to c 2000
dc.subject.otherthema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism::DSG Literary studies: plays and playwrights
dc.subject.otherthema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTZ General studies and General knowledge
dc.titleWhiteface
dc.title.alternativeImprov Comedy and Anti-Blackness
dc.typebook
oapen.identifier.doi10.1515/9783110752748
oapen.relation.isPublishedByaf2fbfcc-ee87-43d8-a035-afb9d7eef6a5
oapen.relation.isbn9783110752748
oapen.relation.isbn9783110752670
oapen.relation.isbn9783110752823
oapen.imprintDe Gruyter
oapen.pages262
oapen.place.publicationBerlin/Boston
dc.seriesnumber5


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open access
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