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Author: Cecelia Moore
Publisher: Lexington Books
ISBN: 1498526837
Category : History
Languages : en
Pages : 232
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Book Description
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.
Author: Cecelia Moore
Publisher: Lexington Books
ISBN: 1498526837
Category : History
Languages : en
Pages : 232
Get Book
Book Description
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.
Author: Barry Witham
Publisher: Cambridge University Press
ISBN: 9780521822596
Category : Drama
Languages : en
Pages : 220
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Book Description
This 2003 book provides a detailed examination of the operations of the US Federal Theatre Project in the decade of the 1930s.
Author: Elizabeth A. Osborne
Publisher: Springer
ISBN: 0230119565
Category : Performing Arts
Languages : en
Pages : 240
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Book Description
The Federal Theatre Project, a New Deal plan to fund theatre and other live artistic performances during the Great Depression, had the primary goal of employing out-of-work artists, writers, and directors, with the secondary aim of entertaining poor families and creating relevant art. These case studies explore the ties between the Federal Theatre Project and regional communities throughout the United States.
Author:
Publisher: Theatre Symposium
ISBN:
Category : Drama
Languages : en
Pages : 120
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Book Description
The essays in this collection were selected from among papers delivered at the April 2002 Southeastern Theatre Conference s annual symposium held at Elon University in North Carolina. They address issues of race and ethnicity on the southern stage, in plays about the South, and in public performances, including minstrel shows, vaudeville, melodrama, puppetry, folk dramas, musical, social realism, and the public theaters of criminal justice and political propaganda. "
Author: Kate Dossett
Publisher: UNC Press Books
ISBN: 1469654431
Category : History
Languages : en
Pages : 359
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Book Description
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.
Author: Susan Quinn
Publisher: Plunkett Lake Press
ISBN:
Category : Performing Arts
Languages : en
Pages : 283
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Book Description
Under the direction of Hallie Flanagan, a daring 5-foot dynamo, the Federal Theater Project managed to turn a WPA relief program into a platform for some of the most cutting-edge theater of its time. This unique experiment by the US government in support of the arts electrified audiences with exciting, controversial productions, created by some of the greatest figures in 20th century American arts — including Orson Welles, John Houseman and Sinclair Lewis. Plays like Voodoo Macbeth and The Cradle Will Rock stirred up politicians by defying segregation and putting the spotlight on the inequities that led to the Great Depression. Furious Improvisation brings to life the challenges of this desperate era when Franklin Delano Roosevelt, Eleanor Roosevelt and the tough-talking idealist Harry Hopkins furiously improvised programs to get millions of hungry, unemployed people back to work. Quinn’s compelling story of politics and creativity reaches a dramatic climax with the entrance of Martin Dies and his newly formed House Un-American Activities Committee, which turned the Federal Theatre Project into the first victim of a Red scare that would roil the nation for decades to come. “Insightful, judiciously selective history of the Federal Theatre Project (FTP), the most controversial branch of the New Deal’s Works Progress Administration (WPA)... With careful attention to the underlying political and cultural issues, Quinn cogently retells this sad story of ‘a brief time in our history [when] Americans had a vibrant national theatre almost by accident.’“ — Kirkus “[A] fascinating new book that describes a rare happy marriage between art and government.” — Maureen Corrigan, Fresh Air, National Public Radio “Quinn does a superb job of recounting the rise and fall of the Federal Theatre Project, a wing of FDR’s WPA meant to employ playwrights and actors while providing diversion and inspiration for Depression-ravaged Americans... Quinn describes eloquently and artfully... a not-so-distant time when a nation bled and great artists rushed as healers into the countryside.” — Publishers Weekly “Quinn skillfully weaves together the cultural, political, personal and theatrical events that shaped the course of the [Federal Theatre Project]... Quinn enriches the prevalent narrative of FTP history... with her thorough analysis of key events outside the theatres.” — Theatre Survey “An energetic and adeptly detailed account of the remarkable achievements of the Federal Theatre Project... Much more than the sum of its fascinating parts.” — Booklist “[A]n excellent book, a model of narrative history...” — Scott Eyman, The Observer “Quinn’s well-written narrative is both fascinating and frightening as politics and idealism come to metaphorical blows with the rise of Martin Dies.” — Library Journal “Susan Quinn has gifted us with a key moment in the history of F.D.R’s New Deal. Especially thrilling and revelatory is the work of the Arts Project of the WPA. Not only were there rakes and shovels, jobs and food for family, there was exhilarating and hopeful theatre, music, and painting, lifting our spirits. They gave us all hope.” — Studs Terkel “This fine book combines elements of political history, theater lore, and a saga of social justice. In showing us a rare triumph of bold artists in league with brave public servants, Quinn rescues the idea that the imagination and government can be friends instead of strangers. Our times are desperate, too, and Furious Improvisation comes at just the right moment.” — James Carroll, author of House of War and Constantine’s Sword “Susan Quinn’s Furious Improvisation is a fascinating account of a fleeting moment in American history when the US government felt some obligation to provide work for its more indigent citizens, including artists. Hallie Flanagan, the heroine of this book, emerges as a true saint of the theatre — passionate, visionary, and inspired. Well written and thoroughly engrossing.” — Robert Brustein, Founder, Yale Repertory Theatre and American Repertory Theatre “With a cast of period icons ranging from Harry Hopkins to Orson Welles, Quinn’s fast-paced, highly readable narrative exposes the myriad ‘isms’ — racism, sexism, communism, fascism — defying the birthright of a young democracy whose survival was still very much in question. A provocative reminder of how consistent national conflicts remain.” — Diane McWhorther, author of Carry Me Home “Anyone interested in how theatre can make a difference in the world should read this book. Susan Quinn inspires us with the courage of Hallie Flanagan and her fellow artists, showing how theatre can be both life sustaining and dangerous — and have a huge impact on the political landscape.” — Tina Packer, Founder of Shakespeare & Company
Author: S. Newstok
Publisher: Springer
ISBN: 0230102166
Category : Performing Arts
Languages : en
Pages : 288
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Book Description
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.
Author: Errol G. Hill
Publisher: Cambridge University Press
ISBN: 9780521624435
Category : Drama
Languages : en
Pages : 652
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Book Description
Table of contents
Author: Library of Congress. Manuscript Division
Publisher:
ISBN:
Category : Language Arts & Disciplines
Languages : en
Pages : 332
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Book Description
Author: Bonnie Nelson Schwartz
Publisher: Terrace Books
ISBN: 9780299183240
Category : History
Languages : en
Pages : 244
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Book Description
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.
