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In the early decades of the 20th century, Sheldon Cheney was the American theatre's zealous missionary for modernism. In 1916, Cheney founded Theatre Arts Magazine in Detroit with the intent to foster and support a 'renaissance' in America. Through this publication, Cheney gave voice to scores of 'little theatres'_groups around the country with artistic aspirations and local commitment that would become the models for the American regional theatre movement later in the century. In the first five years of Theatre Arts Magazine are the keys to understanding the progressive movement for a modern American theatre: the tension between commercial and non-commercial theatre, the yearning for more than realistic scenery, and the call for an 'authentic' American voice in playwriting. Publishing articles, photographs, and drawings by modernist stage designers, Cheney helped popularize the New Stagecraft and elevated the identity of the American scenic designer from a craftsperson to an artist. As progressives around the country read Theatre Arts Magazine, Cheney's assessment of the sins of American commercial theatre and the plan for its salvation eventually became the convictions of a generation. Sheldon Cheney's Theatre Arts Magazine: Promoting a Modern American Theatre, 1916-1921 enriches understanding of a critical period in American history and illuminates major issues of 20th century theatre and drama. Author DeAnna Toten Beard gives a brief history of the magazine, biographical information about Cheney, and an explanation of his philosophy of modernist theatre. Each chapter of the book considers a different topic relevant to Cheney's magazine, and selected articles are enhanced by full notations. This collection will help readers understand the dynamic nature of the discourse on modernism in America in the World War I era and, by extension, may even encourage fresh considerations about our contemporary stage.
Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.
These vintage and contemporary images of Baltimore movie palaces explore the changing face of Charm City with stories and commentary by filmmakers. Since the dawn of popular cinema, Baltimore has been home to hundreds of movie theaters, many of which became legendary monuments to popular culture. But by 2016, the number of cinemas had dwindled to only three. Many theaters have been boarded up, burned out, or repurposed. In this volume, Baltimore Sun photojournalist Amy Davis pairs vintage black-and-white images of downtown movie palaces and modest neighborhood theaters with her own contemporary color photos. Flickering Treasures delves into Baltimore’s cultural and cinematic history, from its troubling legacy of racial segregation to the technological changes that have shaped both American cities and the movie exhibition business. Images of Electric Park, the Century, the Hippodrome, and scores of other beloved venues are punctuated by stories and interviews, as well as commentary from celebrated Baltimore filmmakers Barry Levinson and John Waters. A map and timeline reveal the one-time presence of movie houses in every corner of the city, and fact boxes include the years of operation, address, architect, and seating capacity for each of the 72 theaters profiled, along with a brief description of each theater’s distinct character.
New Theatre Quarterly provides an international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning.
New Theatre Quarterly provides a lively international forum where theatrical scholarship and practice can meet, and where prevailing dramatic assumptions can be subjected to vigorous critical questioning. It shows that theater history has a contemporary relevance, that theater studies need a methodology, and that theater criticism needs a language. The journal publishes news, analysis and debate within the field of theater studies.