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The Federal Theatre Project in the American South introduces the people and projects that shaped the regional identity of the Federal Theatre Project. When college theatre director Hallie Flanagan became head of this New Deal era jobs program in 1935, she envisioned a national theatre comprised of a network of theatres across the country. A regional approach was more than organizational; it was a conceptual model for a national art. Flanagan was part of the little theatre movement that had already developed a new American drama drawn from the distinctive heritage of each region and which they believed would, collectively, illustrate a national identity. The Federal Theatre plan relied on a successful regional model – the folk drama program at the University of North Carolina, led by Frederick Koch and Paul Green. Through a unique partnership of public university, private philanthropy and community participation, Koch had developed a successful playwriting program and extension service that built community theatres throughout the state. North Carolina, along with the rest of the Southern region, seemed an unpromising place for government theatre. Racial segregation and conservative politics limited the Federal Theatre’s ability to experiment with new ideas in the region. Yet in North Carolina, the Project thrived. Amateur drama units became vibrant community theatres where whites and African Americans worked together. Project personnel launched The Lost Colony, one of the first so-called outdoor historical dramas that would become its own movement. The Federal Theatre sent unemployed dramatists, including future novelist Betty Smith, to the university to work with Koch and Green. They joined other playwrights, including African American writer Zora Neale Hurston, who came to North Carolina because of their own interest in folk drama. Their experience, told in this book, is a backdrop for each successive generation’s debates over government, cultural expression, art and identity in the American nation.
Between 1935 and 1939, the United States government paid out-of-work artists to write, act, and stage theatre as part of the Federal Theatre Project (FTP), a New Deal job relief program. In segregated "Negro Units" set up under the FTP, African American artists took on theatre work usually reserved for whites, staged black versions of "white" classics, and developed radical new dramas. In this fresh history of the FTP Negro Units, Kate Dossett examines what she calls the black performance community—a broad network of actors, dramatists, audiences, critics, and community activists—who made and remade black theatre manuscripts for the Negro Units and other theatre companies from New York to Seattle. Tracing how African American playwrights and troupes developed these manuscripts and how they were then contested, revised, and reinterpreted, Dossett argues that these texts constitute an archive of black agency, and understanding their history allows us to consider black dramas on their own terms. The cultural and intellectual labor of black theatre artists was at the heart of radical politics in 1930s America, and their work became an important battleground in a turbulent decade.
A history of the WPA's Federal Theater Project in the 1930s traces the transformation of the Roosevelt administration relief effort into a platform for some of performing art's most inventive and controversial achievements.
Weyward Macbeth, a volume of entirely new essays, provides innovative, interdisciplinary approaches to the various ways Shakespeare's 'Macbeth' has been adapted and appropriated within the context of American racial constructions. Comprehensive in its scope, this collection addresses the enduringly fraught history of 'Macbeth' in the United States, from its appearance as the first Shakespearean play documented in the American colonies to a proposed Hollywood film version with a black diasporic cast. Over two dozen contributions explore 'Macbeth's' haunting presence in American drama, poetry, film, music, history, politics, acting, and directing — all through the intersections of race and performance.
Theatre has long been an art form of subterfuge and concealment. Working in the Wings: New Perspectives on Theatre History and Labor, edited by Elizabeth A. Osborne and Christine Woodworth, brings attention to what goes on behind the scenes, challenging, and revising our understanding of work, theatre, and history. Essays consider a range of historic moments and geographic locations—from African Americans’ performance of the cakewalk in Florida’s resort hotels during the Gilded Age to the UAW Union Theatre and striking automobile workers in post–World War II Detroit, to the struggle in the latter part of the twentieth century to finish an adaptation of Moby Dick for the stage before the memory of creator Rinde Eckert failed. Contributors incorporate methodologies and theories from fields as diverse as theatre history, work studies, legal studies, economics, and literature and draw on traditional archival materials, including performance texts and architectural structures, as well as less tangible material traces of stagecraft. Working in the Wings looks at the ways in which workers' identities are shaped, influenced, and dictated by what they do; the traces left behind by workers whose contributions have been overwritten; the intersections between the sometimes repetitive and sometimes destructive process of creation and the end result—the play or performance; and the ways in which theatre affects the popular imagination. This collected volume draws attention to the significance of work in the theatre, encouraging a fresh examination of this important subject in the history of the theatre and beyond.
This 2003 book provides a detailed examination of the operations of the US Federal Theatre Project in the decade of the 1930s.
Table of contents
On the morning of December 7, 1941, after serving breakfast and turning his attention to laundry services aboard the USS West Virginia, Ship’s Cook Third Class Doris “Dorie” Miller heard the alarm calling sailors to battle stations. The first of several torpedoes dropped from Japanese aircraft had struck the American battleship. Miller hastily made his way to a central point and was soon called to the bridge by Lt. Com. Doir C. Johnson to assist the mortally wounded ship’s captain, Mervyn Bennion. Miller then joined two others in loading and firing an unmanned anti-aircraft machine gun—a weapon that, as an African American in a segregated military, Miller had not been trained to operate. But he did, firing the weapon on attacking Japanese aircraft until the .50-caliber gun ran out of ammunition. For these actions, Miller was later awarded the Navy Cross, the third-highest naval award for combat gallantry. Historians Thomas W. Cutrer and T. Michael Parrish have not only painstakingly reconstructed Miller’s inspiring actions on December 7. They also offer for the first time a full biography of Miller placed in the larger context of African American service in the United States military and the beginnings of the civil rights movement. Like so many sailors and soldiers in World War II, Doris Miller’s life was cut short. Just two years after the attack on Pearl Harbor, Miller was aboard the USS Liscome Bay when it was sunk by a Japanese submarine. But the name—and symbolic image—of Dorie Miller lived on. As Cutrer and Parrish conclude, “Dorie Miller’s actions at Pearl Harbor, and the legend that they engendered, were directly responsible for helping to roll back the navy’s then-to-fore unrelenting policy of racial segregation and prejudice, and, in the chain of events, helped to launch the civil rights movement of the 1960s that brought an end to the worst of America’s racial intolerance.”
Accompanying DVD contains the chapters: Who killed the Federal Theatre? -- Innovations: a selection of interviews -- Art and politics: a selection of interviews -- Selection of Federal Theatre posters -- Selection of Federal Theatre photographs.