Abstract
This essay brings together conceptualizations of populism in political science with those in literary and cultural studies. Theater historian Elizabeth Maddock Dillon’s theory of a »performative commons« (from 1649 through 1849) are applied to three US-American nineteenth-century plays. The first two examples confirm Dillon’s points regarding strategies of erasing Native Americans from evolving definitions of ›the American people‹. In the third play, which was popular between the 1860s and early 1900s, Native Americans are completely absent, and the populist nostalgia related to the central character and star actor privileges white male entitlement to personal freedoms at the expense of women’s rights within the newly minted New World republic.
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