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Blackness in Opera$
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Naomi Andre, Karen M. Bryan, and Eric Saylor

Print publication date: 2012

Print ISBN-13: 9780252036781

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252036781.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 05 August 2020

The Politics of Color in Oscar Hammerstein’s Carmen Jones

The Politics of Color in Oscar Hammerstein’s Carmen Jones

Chapter:
(p.212) 10 The Politics of Color in Oscar Hammerstein’s Carmen Jones
Source:
Blackness in Opera
Author(s):

Melinda Boyd

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252036781.003.0011

This chapter explores the politics of color in Oscar Hammerstein's Carmen Jones by focusing on the various layers of representation in its stage and film versions. Carmen Jones uses lyrics that adopt common clichés of Negro speech and equates Georges Bizet's sexually liberated gypsy in Carmen with a lower-class African American woman. After providing a background on the circumstances, precedents, and models that inspired Hammerstein's conception of Carmen Jones, the chapter considers Hammerstein's transformation of the plot and his text-translation practice, along with the opera's exoticism, stereotypes, and problematic representations of blackness and black Other. It then discusses the critical reception of Carmen Jones in light of the socioeconomic status and race of its 1943 audience. It also analyzes Otto Preminger's 1954 film version of Carmen Jones and how he was able to capture the spectacle of its Technicolor bodies on the big screen with the aid of CinemaScope.

Keywords:   people of color, Oscar Hammerstein, Carmen Jones, Georges Bizet, exoticism, stereotypes, blackness, black Other, Otto Preminger, CinemaScope

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