Theophilus Lewis

Theophilus Lewis (1891–1974) was an African-American drama critic, a writer, and a magazine editor during the Harlem Renaissance whose contributions primarily appeared in The Messenger, the socialist African-American magazine founded by A. Philip Randolph and Chandler Owen. Lewis was well known for his staunch support of the advancement of a black aesthetic in the arts, particularly the advancement of plays that represented African-Americans well.

Career

Born in Baltimore, Lewis idolized H. L. Mencken, the legendary newspaper writer, magazine editor, and literary critic who contributed to The Smart Set, a magazine that Lewis read religiously. After returning from fighting in World War I, Lewis settled in New York with his family and began working for the Postal Service, a job Lewis held for 33 years and by which supported his wife and three children.[1] There he met Randolph and Owen and showed them one of his reviews of the local theater, and these men loved Lewis caustic take on the oft-demeaning roles that white playwrights gave African-American actors. Randolph offered to buy Lewis’s theater tickets if Lewis would contribute reviews of theatrical productions to The Messenger; this is the only compensation Lewis received for his work.

Lewis had a deep-seated belief that “theater was an essential vehicle through which society could effect and consider social change and cultural development,” and he was especially derisive of the vulgarity and banality that dominated portrayals of African-Americans.[2][3] The theater productions that included African-Americans almost always cast individuals who were quite fair-skinned, and many of the plays and musicals included nudity and crass humor.[4] He also pushed for more demanding and positive roles for the black actors, which he thought would cultivate a truly black aesthetic that would solidify a “black” cultural identity, as opposed to mimicking the manners, conventions, and customs of white theater productions.[5] According to Theodore Kornweibel, “His fundamental theme, that the primary need of blacks in establishing their own cultural independence was for a national black theater grounded in the works of black playwrights, was a justifiable criticism.”[6] In the July 1926 issue of The Messenger, Lewis condemned the duplicity of upper-class African-Americans, saying “But when the higher type of Negro goes into the theater, he commonly ignores his own tastes [. . .] and demands that the performance be adjusted to a set of standards alien to birth."[7]

During his time at The Messenger, Lewis worked closely with George S. Schuyler, co-authoring a column entitled "Shafts and Darts: A Page of Calumny and Satire.” He also was instrumental in fostering the career of Wallace Thurman, whom Lewis had hired in 1925 to contribute articles and run errands for Lewis's own start-up magazine The Looking Glass. After that magazine folded after a few issues, Lewis convinced Randolph to hire Thurman as an associate editor and writer for The Messenger. After Randolph and Owen left the editorship of The Messenger to devote their time to unionizing, Schuyler and Lewis took over and shifted the magazine's focus away from socialism toward literature, drama, and the arts of the Harlem Renaissance. Lewis emphasized art that demonstrated "sincerity [which], however crudely expressed, is at the root of every true art,”[8] which ran counter to Randolph's socialistic ideals.

After leaving The Messenger after it folded, Lewis continued to write regularly for publications such as Opportunity, Inter-State Tattler, and Amsterdam News.[9] Lewis converted to Catholicism later in life, and after that point his writing appeared in Catholic World, Commonweal, and America. Lewis died in 1974.

gollark: As a UK resident, hi.
gollark: It probably just has trouble with the stupidly high energy physics involved.
gollark: I'm a bit unsure about the numbers though. 50 YW is... 25 times the sun's power output, or something. Surely it should do more than that.
gollark: The laser thing has been a feature since they added... a bunch of other tools for interacting with planets, I think, probably a month or more?
gollark: styropyro in the year 2100

References
  1. Dickson-Carr, Darryl. "Theophilus Lewis." Encyclopedia of the Harlem Renaissance (Vol. 2 of 2), Cary D. Wintz and Paul Finkelman (eds.), Routledge (2004), pps. 692–693; OCLC 1131486957
  2. Brown, Lois. “Theophilus Lewis.” The Encyclopedia of the Harlem Literary Renaissance. 2006: 311–12. Print. 311.
  3. Dickson-Carr. 692
  4. Dickson-Carr. 692
  5. Hutchinson, George. “Mediating `race’ and `nation’: The Cultural Politics of The Messenger.” African American Review 28.4 (Winter 1994): 531–49. Print.
  6. Kornweibel, Theodore. No Crystal Stair: Black Life and The Messenger, 1917–1928. Westport, CT: Greenwood Press, 1975. Print. 108.
  7. Lewis, Theophilus. "The Theater: The Souls of Black Folks." The Messenger July 1926: 214–15. Print.
  8. Lewis. 215.
  9. Brown. 311.

Further reading
  • Brown, Lois. "Theophilus Lewis." The Encyclopedia of the Harlem Literary Renaissance (2006): 311–12. Print.
  • Kornweibel, Jr., Theodore. No Crystal Stair: Black Life and the Messenger, 1917–1928. Westport, CT: Greenwood Press (1975); OCLC 469595427
  • Kornweibel, Jr., Theodore. "Theophilus Lewis and the Theater of the Harlem Renaissance." The Harlem Renaissance Remembered (essays). Arna Bontemps (ed.), New York: Dodd, Mead & Company (1972): 171–189; OCLC 429162
  • McKible, Adam. The Space and Place of Modernism: The Russian Revolution, Little Magazines, and New York. New York: Routledge (2002); OCLC 7385608642
  • Wilson, Sondra Kathryn. The Messenger Reader. New York: The Modern Library, 2000
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.