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The subject of Swortzell's book is a selection of plays created by the Children's Theatre units of the Federal Theatre Project. . . . Most of the six plays in Swortzell's anthology resonate with political messages integral to the post-Depression, post-World War I era. . . . Though some of the scripts, like Chorpenning's A Letter to Santa Clause, which is an indictment of war, and Yasha Frank's Pinocchio, which celebrates the rewards of a virtuous life, hammer away at theme to the point of becoming tedious, the plays written and performed during this brief heydey in the history of children's theatre reveal just how far the genre could move beyond the narrow focus and prescribed subjects which once defined its boundaries. Children's Literature Association Quarterly The plays published here were originally commissioned by the Federal Theatre Project (FTP) of the Works Progress Administration. Editor Lowell Swortzell has selected six plays representative of the reportory of the children's theatre productions of the FTP and reprinted them in their entirety. The plays, whether original scripts or adaptations of fairy tales and folklore, emphasized both educational and entertainment value. The plays are preceded by an extensive introduction detailing the history and goals of the children's theatre unit. The plays are: Horse Play by Dorothy Hailparn, a comedy from the Negro Unit of New York City; Flight by Oscar Saul and Louis Lantz, a documentary play in the style of the Living Newspaper; The Boiled Eggs by Rught Fenisong, a comedy form the Marionette Unit of New York City; The Revolt of the Beavers by Oscar Saul and Louis Lantz, a controversial fable from Broadway; A Letter to Santa Claus by Charlotte Chorpenning, an anti-war Christmas pantomine produced as a gift to the children of Chicago; and Pinocchio, a popular adaptation first produced in Los Angeles, then transferred to Broadway.
No area of the United States was untouched by the Great Depression, but the severity in which people experienced those significant years depended in large part on where in the nation they lived. While dust choked the life out of Americans in the plains, apples grew in abundance in the Northwest. Unemployment-driven poverty robbed urban dwellers of hearth and home, while Upper-plains farm women traded eggs and chickens like money. This bibliography describes the youth literature and relevant resources written about the Great Depression, all categorized by geographical location. Students, educators, historians, and writers can use this book to find literature specific to their state or region, gaining a greater understanding of what the Great Depression was like in their locale. The Great Depression was a pivotal period in our nation's history. This annotated bibliography guides readers to biographies; oral histories, memoirs, and recollections; photograph collections; fiction and nonfiction books; picture books; international resources; and other reference sources. The Works Progress Administration (WPA) state guides are included, as well as literature about the federal theater, arts, and music projects. A comprehensive listing of museums and state historical societies complement this reference. For readers interested in learning about the Great Depression, this is a must-have resource.
Building on Robert J. Landy's seminal text, Handbook of Educational Drama and Theatre, Landy and Montgomery revisit this richly diverse and ever-changing field, identifying some of the best international practices in Applied Drama and Theatre. Through interviews with leading practitioners and educators such as Dorothy Heathcote, Jan Cohen Cruz, James Thompson, and Johnny Saldaña, the authors lucidly present the key concepts, theories and reflective praxis of Applied Drama and Theatre. As they discuss the changes brought about by practitioners in venues such as schools, community centres, village squares and prisons, Landy and Montgomery explore the field's ability to make meaning of a vast range of personal and social issues through the application of drama and theatre.
Nationalism and Youth in Theatre and Performance explores how children and young people fit into national political theatre and, moreover, how youth enact interrogative, patriotic, and/or antagonistic performances as they develop their own relationship with nationhood. Children are often seen as excluded from public discourse or political action. However, this idea of exclusion is false both because adults place children at the center of political debates (with the rhetoric of future generations) and because children actively insert themselves into public discourse. Whether performing a national anthem for visiting heads of state, creating a school play about a country’s birth, or marching in protest of a change in public policy, young people use theatre and performance as a means of publicly staking a claim in national politics, directly engaging with ideas of nationalism around the world. This collection explores the issues of how children fit into national discourse on international stages. The authors focus on national performances by/for/with youth and examine a wide range of performances from across the globe, from parades and protests to devised and traditional theatre. Nationalism and Youth in Theatre and Performance rethinks how national performance is defined and offers previously unexplored historical and theoretical discussions of political youth performance.
A collection of plays by such authors as Moliere, August Strindberg, Langston Hughes, Susan Zeder, Wendy Kesselman, and Laurence Yep.
There is a complex relationship between performance, youth, and the shifting material circumstances (social, cultural, economic, ideological, and political) under which theatre for children and youth is generated and perceived. This book explores different aspect of theatre for young audiences using examples from theatrical events globally.
This companion interrogates the relationship between theatre and youth from a global perspective, taking in performances and theatre made by, for, and about young people. These different but interrelated forms of theatre are addressed through four critical themes that underpin the ways in which analysis of contemporary theatre in relation to young people can be framed: political utterances – exploring the varied ways theatre becomes a platform for political utterance as a process of dialogic thinking and critical imagining; critical positioning – examining youth theatre work that navigates the sensitive, dynamic, and complex terrains in which young people live and perform; pedagogic frames – outlining a range of contexts and programmes in which young people learn to make and understand theatre that reflects their artistic capacities and aesthetic strategies; applying performance – discussing a range of projects and companies whose work has been influential in the development of youth theatre within specific contexts. Providing critical, research-informed, and research-based discussions on the intersection between young people, their representation, and their participation in theatre, this is a landmark text for students, scholars, and practitioners whose work and thinking involves theatre and young people.
This book establishes play as a mode of humanistic inquiry with a profound effect on art, culture and society. Play is treated as a dynamic and relational modality where relationships of all kinds are forged and inquisitive interdisciplinary engagement is embraced. Play cultivates reflection, connection, and creativity, offering new epistemological directions for the humanities. With examples from a range of disciplines including poetry, history, science, religion and media, this book treats play as an object of inquiry, but also as a mode of inquiry. The chapters, each focusing on a specific cultural phenomenon, do not simply put culture on display, they put culture in play, providing a playful lens through which to see the world. The reader is encouraged to read the chapters in this book out of order, allowing constructive collision between ideas, moments in history, and theoretical perspectives. The act of reading this book, like the project of the humanities itself, should be emergent, generative, and playful.
This book shows how the totalitarian ideology of the Soviet period shaped the practices of Soviet theatre for youth. It weaves together politics, pedagogy and aesthetics to reveal the complex intersections between theatre and its socio-historical conditions. It paints a picture of the theatrical developments from 1917 through to the new millennium.
A rarely discussed aspect of children's literature--the politics behind a book's creation--has been thoroughly explored in this intelligent, enlightening, and fascinating account.