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This is an anthology of six plays from the workers’ theatre movement of the 1920s and 1930s. The book explains the movement and traces its influence on American drama, from David Mamet and August Wilson to the work of Anna Deavere Smith and Vermont's Bread and Puppet Theatre. The six selections also include have explanations providing historical, cultural, and literary context. Processional by John Howard Lawson and Upton Sinclair's Singing Jailbirds reflect the large-scale arrests of strikers and union organizers during and after World War I. Two other plays were produced at labor colleges. Bonchi Friedman's 1926 play The Miners combines expressionism and realism in a drama about a violent strike that has an unusual female union leader as its hero. In Mill Shadows by Tom Tippett, a town changes from a simple industrial village into a place of rebellion and eventually a union community. The last two plays are representative of those produced by the International Ladies Garment Workers Union. In contrast to Irwin Swerdlow's one-act agitprop In Union There Is Strength, the musical revue Pins and Needles-until Oklahoma the longest-running musical on Broadway-is a collection of satirical sketches that parodies workers' theatre while simultaneously taking on serious issues like the treatment of blue- and white-collar workers and the rise of fascism overseas.
Drawing on underexplored and only recently available archives, author Chrystyna Dail examines the influence of Stage for Action, a theatre group founded in 1943, on social activist theatre in the 1940s, early 1950s, and beyond. The group embraced subjects not taken up by earlier activist theatre companies—advocating for the rights of Puerto Ricans, calling attention to the lack of child care for working mothers, and demanding the cessation of all nuclear warfare. Exploring the intersection between performance and politics and the direct impact of the arts on social activism, Dail argues Stage for Action is a theatrical reflection of progressivism and the pro-working-class theatrical aesthetic of the 1940s. The theatre group, which used performance to encourage direct action and personal responsibility for change, eventually would function as the theatrical voice of the United States Progressive Party in the failed presidential campaign of former vice president Henry A. Wallace. Calling into question the widely held belief that U.S. theatre in the early years of the Cold War was indifferent to activism, Stage for Action offers historians a new interpretation of social activist performance at midcentury.
A fully revised edition of the author's best selling book, this resource now includes an extended section on leadership, and managing the foundation stage.
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Paul Atkinson explores the remarkable world of opera through his fieldwork with the internationally known Welsh National Opera company. In order to show us how cultural phenomena are produced and enacted, he takes us on stage and behind the scenes into the collective social action that goes into the realization of an opera. The author demonstrates how artistic interpretation is translated into the routine work of the rehearsal studio and the theatre, and how producers negotiate a practical reality with her or his performers to ultimately create extraordinary performances through the mundane, everyday work that makes them possible. The author calls for a sustained investigation of cultural phenomena, not based solely on textual analysis but on the importance of collective work and social organization. Atkinson's work will appeal to anthropologists and sociologists who study the performance arts, as well as to those engaged in theatre arts, opera and music.
This study examines the structural similarities between English mercantile treatises and drama c1600-1642. Bradley D. Ryner analyses the representational conventions of plays and mercantile treatises written between the chartering of the English East India Company in 1600 and the closing of the public playhouses at the outset of the English Civil War in 1642. He shows that playwrights' manipulation of specific elements of theatrical representation - such as metaphor, props, dramatic character, stage space, audience interaction, and genre - exacerbated the tension between the aspects of the world taken into account by a particular representation and those aspects that it neglects.
A historical, theoretical, and comparative study of the emergence of the director-as-author phenomenon, posing questions of authorship and redefining the relationship between 'playwright' and the director-playwright.
A New History of Documentary Film, Second Edition offers a much-needed resource, considering the very rapid changes taking place within documentary media. Building upon the best-selling 2005 edition, Betsy McLane keeps the same chronological examination, factual reliability, ease of use and accessible prose style as before, while also weaving three new threads - Experimental Documentary, Visual Anthropology and Environmental/Nature Films - into the discussion. She provides emphasis on archival and preservation history, present practices, and future needs for documentaries. Along with preservation information, specific problems of copyright and fair use, as they relate to documentary, are considered. Finally, A History of Documentary Film retains and updates the recommended readings and important films and the end of each chapter from the first edition, including the bibliography and appendices. Impossible to talk learnedly about documentary film without an audio-visual component, a companion website will increase its depth of information and overall usefulness to students, teachers and film enthusiasts.
"Drawing on underexplored and only recently available archives, author Chrystyna Dail examines the influence of Stage for Action--a significant yet previously unstudied agitprop theatre group founded in 1943--on social activist theatre in the 1940s, early 1950s, and beyond"--