DOCSLIB.ORG

Introduction: the “People's Theatre”: Creating An

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction: the “People's Theatre”: Creating An Notes INTRODUCTION: THE “PEOPLE’S THEATRE”: CREATING AN AUDIENCE OF MILLIONS 1. “200,000 New Words Credited to U.S.,” New York Times, November 10, 1936, 23. 2. Hallie Flanagan, Arena (New York: Duell, Sloan and Pearce, 1940), 134. 3. Charles H. Meredith, “America Sings,” Federal Theatre 1, no. 6 (1936): 12. 4. Mark Franko, The Work of Dance: Labor, Movement, and Identity in the 1930s (Middleton, CT: Wesleyan University Press, 2002), 22–3. 5. For more on Hallie Flanagan, see Flanagan, Arena; Jane de Hart Mathews, The Federal Theatre, 1935–1939: Plays, Relief, and Politics (Princeton, NJ: Princeton University Press, 1967); and Joanne Bentley, Hallie Flanagan: A Life in the American Theatre (New York: Alfred A. Knopf, 1988). 6. The Historical Records Survey would join the ranks of Federal One under the jurisdiction of the Federal Writers’ Project in November 1935; it became an independent member of Federal One in October 1936. William F. McDonald, Federal Relief Administration and the Arts (Columbus: Ohio State University Press, 1969), 214. 7. Flanagan, Arena, 23. 8. House Committee on Patents. Department of Science, Art and Literature: Hearings before the Committee on Patents. Transcript, 75th Congress, 3rd sess., 1938 (Washington, DC: Government Printing Office, 1938), 93. 9. Burgess Meredith first compared the cost of the FTP to the cost of building a battleship in December 1937 in Equity. At that time, FTP expenditures approximated 22 million dollars, or about one- half the price of a battleship. Flanagan, Arena, 434–6. 10. Quoted in John O’Connor and Lorraine Brown, Free, Adult, Uncensored: The Living History of the Federal Theatre Project (Washington, DC: New Republic Books, 1978), 2. 11. Barry Witham documents Edwin O’Connor’s attempts to establish a show- boat FTP unit in Seattle, a project scuttled by Don Abel, director of the Washington state WPA. The WPA district director in southern California, Colonel Connolly, bluntly stated that he defined a good theatre project as “anything that ke[pt] out of the papers,” a theory that he exercised repeatedly 190 Notes at the expense of the FTP in his region. Ole Ness, regional director of the West, explained to a baffled Flanagan that the Oregon WPA had withdrawn use of its typewriters. Barry Witham, The Federal Theatre Project: A Case Study (New York: Cambridge University Press, 2003), 7–20; Flanagan, Arena, 273–5; Ole Ness to Hallie Flanagan, “Weekly Report,” October 21, 1938, NARA, E856, Box 100, “Region V—1938 & 1939,” 2. 12. In New York City a number of Broadway Theatre managers negotiated a strict agreement with the FTP regarding theatre locations, effectively banning it from the Broadway Theatre area (between 42nd and 52nd streets). The FTP violated this “gentlemen’s agreement” on numerous occasions, which earned the rancor of the managers as well as angry letters of protest and petitions. Flanagan, Arena, 40. 13. Ibid., 42–44. 14. Hallie Flanagan, “Excerpts from National Director’s Report, January, 1939,” Federal Theatre, NARA, E920, Box 357, “The Prompter,” 1. 15. Flanagan, Arena, 372. 16. For an informative discussion of the FTP as a “People’s Theatre,” see Loren Kruger’s The National Stage: Theatre and Cultural Legitimation in England, France, and America (Chicago: University of Chicago Press, 1992), 152–8; David Weissman, “Uncle Sam as a Showman,” Los Angeles Times, April 18, 1937, I11. 17. John Cambridge, “Federal Theatre Draws the Fire of Some Defenders of Commercial Drama,” Sunday Worker, May 29, 1938, 12. 18. Dana Rush, “Audience Survey Report: It Can’t Happen Here, Blackstone Theatre, Chicago,” NARA, E907, Box 254, It Can’t Happen Here—Chicago. 19. “Pinocchio Dies in New York as Federal Theatre Drops Curtain,” Life, July 17, 1939, 20; John O’Connor, “The Federal Theatre Project’s Search for an Audience,” in Theatre for Working- Class Audiences in the United States, 1830– 1980, edited by Bruce A. McConachie and Daniel Friedman (Westport, CT: Greenwood Press, 1985), 171–172. 20. Hallie Flanagan, “Congress Takes the Stage,” New York Times, August 20, 1939, sec. 9, 1. 21. Natalie Zemon Davis, Society and Culture in Early Modern France (Stanford, CA: Stanford University Press, 1965), xvi; L. P. Hartley, The Go- Between (London: H. Hamilton, 1953), 1. 22. Robert Darnton, The Great Cat Massacre and Other Episodes in French Cultural History (New York: Basic Books, 1999), 6. 23. Ibid., 6. 24. From the Salem News, quoted in Flanagan, Arena, 228. 25. Flanagan, Arena, 226–7. 26. Ibid., 88. 27. Hallie Flanagan, “The People’s Theatre Grows Stronger,” Federal Theatre I, no. 6 (May 1936): 6. Notes 191 1 DANGER, DISEASE, AND DESPOTISM: BALANCING ON THE TIGHTROPE OF CHICAGO 1. Flanagan, Arena, 134. 2. Harry Minturn was the third and final director of the Chicago FTP. Quoted in Flanagan, Arena, 134. 3. Many of the newspapers, including the Chicago American, the Chicago Herald- Examiner, and the Chicago Daily News contained varying degrees of anti–New Deal sentiment, while the Chicago Daily Tribune, the Chicago Times, and the African American Defender supported Roosevelt’s programs. The Chicago American and the Chicago Herald- Examiner, both owned by William Randolph Hearst, were “friendly but [ . ] governed by [anti–New Deal] policy.” On May 6, 1938, the Chicago Daily News, a staunchly anti–New Deal paper, ran a front-page story titled “Plain Intolerable Intimidation,” in which it referred to Roosevelt as “power-drunk” and compared his administration to the Nazi regime. In contrast, the Defender, one of the most widely circulated African American papers of the time, typically supported efforts of the FTP’s Negro Units. The democratic Chicago Daily Tribune was pro–New Deal and often supported the efforts of the WPA and FTP. “Meeting in Chicago Minutes: Publicity and Promotional Activities, Great Northern Theatre, Blackstone Theatre and Negro Theatre,” May 2, 1936, NARA, E839, Box 15, Midwestern Region; “Plain Intolerable Intimidation,” Chicago Daily News, May 6, 1938, 1. 4. “Meeting in Chicago Minutes,” May 2, 1936, NARA, E839, Box 15, Midwestern Region, 4. 5. George Kondolf, interview by Lorraine Brown, Rumson, New Jersey, tape recording, WPA Oral Histories Collection, Special Collections and Archives, George Mason University, February 21, 1976, 4. 6. “Farm Policies of Two Decades Told in Drama,” Chicago Daily Tribune, July 10, 1938, 24. 7. John McGee was an integral member of the FTP national administration and a close friend of Hallie Flanagan. The story surrounding The Swing Mikado was fraught with turmoil and documented closely. The report cited here was labeled “Personal and Confidential” and only declassified by the National Archives in 1999. “Narrative Report of Events Leading to Dismissal of John McGee as Regional and State Director of the Federal Theatre Project,” NARA, E839, Box 15, “Mikado”—Rpt. RE: Dismissal of John McGee & “Mikado”—Investigations. 8. Melvin G. Holli, The American Mayor: The Best & the Worst Big-City Leaders (University Park, PA: Pennsylvania State University Press, 1999), 12–13. 9. Quoted in Curt Johnson and R. Craig Sautter, “Wicked City Chicago: From Kenna to Capone,” December Magazine (special issue) 37, no. 1 (1994): 223. 10. Ibid., 325, 330. 11. Roger Biles, Big City Boss in Depression and War: Mayor Edward J. Kelly of Chicago (DeKalb, IL: Northern University Press, 1984), 4–5. 192 Notes 12. Holli, The American Mayor: The Best & the Worst Big- City Leaders, 12–13; Curt Johnson and R. Craig Sautter, “Wicked City Chicago: From Kenna to Capone,” 269; “Citizens Demand $14,000,000 Cut in State Taxes,” Chicago Daily Tribune, December 12, 1926, 5; “ ‘Cut Your Tax’ Card Stirs Up State Inquiry,” Chicago Daily Tribune, September 6, 1928, 1; Broadus Mitchell, Depression Decade (New York: Rinehart and Co., 1947), 105; Biles, Big City Boss, 21–23; George Schottenhamel, “How Big Bill Thompson Won Control of Chicago,” Journal of Illinois State Historical Society 45, 1 (Spring 1952): 46. 13. Biles, Big City Boss, 31–32; Roger Biles, “Edward J. Kelly: New Deal Machine Builder,” in The Mayors: The Chicago Political Tradition, rev. ed., ed. Paul M. Green and Melvin G. Holli (Carbondale: Southern Illinois University Press, 1995), 113–115, 120. 14. Quoted in Hallie Flanagan, “Visit with Mayor Kelly of Chicago . ,” undated, NARA, E839, Box 15, Midwestern Region, 1–3. 15. “Mayor Starts Decency Test of All Plays,” Chicago Daily Tribune, October 23, 1935, 13. 16. Model Tenement, much like One Third of a Nation, dealt with the nation’s housing problems by presenting both sides—tenant and landlord—sympa- thetically, ultimately supporting Roosevelt’s federal housing projects. The content was particularly relevant to Chicago because of the number of people displaced from their homes by the Great Depression. 17. Meyer Levin, whose Model Tenement would fall prey to the Chicago censors, described Kondolf as a “troubleshooter” who “tried to please everyone.” Meyer Levin, interview by Ellen Vanas, Herzlia, Israel, index of tape recording (no transcrip- tion available), WPA Oral Histories Collection, Special Collections and Archives, George Mason University, January 4, 1978, 3; “Meeting in Chicago Minutes,” 4. 18. George Kondolf, to Hallie Flanagan, May 18, 1936, NARA, E839, Box 13, George Kondolf. 19. Meyer Levin was the president of the Free Speech Association of the Midwest and on the editorial board of Esquire magazine. Esquire offered to finance a lawsuit against the WPA if evidence that the WPA stopped Model Tenement came to light. Flanagan’s investigations into the matter were inconclusive. Hallie Flanagan, “Visit with Mayor Kelly of Chicago . ,” undated, NARA, E839, Box 15, Midwestern Region, 1–3. 20. Ibid., 2–3. 21. “Halts Opening of WPA Show Over Morals,” Chicago Daily Tribune, October 10, 1936, 1. 22. Quoted in Flanagan, Arena, 200. 23. “WPA Puts Off Play’s Opening a Second Time,” Chicago Daily Tribune, October 15, 1936, 10.
Load more

Recommended publications
  • Oral History Interview with Edith Wyle, 1993 March 9-September 7
    Oral history interview with Edith Wyle, 1993 March 9-September 7 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned.
    [Show full text]
  • Inside Facts of Stage and Screen (September 20, 1930)
    — STAGE PRICE 10 RADIO \ CENTS SCREEN Only Theatrical Newspaper on the Pacific Coast MUSIC ESTABLISHED 1924 EDITED BY JACK JOSEPHS Entered as Second Class Matter, April 29, 1927, at Post- Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII office, Los Angeles, Calif., under Act of March 3, 1879. Saturday, September 20, 1930 town Building, 401 West Seventh St., Los Angeles, Calif. No. 12 LOCAL PREVIEWS ‘OUT’ MARATHON UNFINISHED DANCES IN FILMS GET BIG SPURT ‘PAN’ HERE Marathon dances, considered Elimination of previews of dead stuff around here and talking pictures in the vicinity which certain officials in the of Hollywood was a decision city have frowned upon, took a of the movie industry this sudden leap with the long dic- week. tance dance which Bill MeikeB Instead, advance public show- john promoted at the Casino in ings of pictures are to be given Balboa Beach. in San Francisco, San Diego, San Bernardino and other Contest endured for of a period points considerably distant from 1226 hours, and wound up in ex- the movie capital. citement and packed houses that, Too many wise ones in the in- notwithstanding the large overhead dustry, and their friends, have been and slow start, made a big profit for attending the local previews, and the promoters. making smart cracks about films, During last few hours of the not yet cut or actually finished. dance, excited spectators threw As' a result, many good pictures $2200 on the floor for the be- have been given the “black-eye” draggled dancers, which was in from these premature swats.
    [Show full text]
  • Living Newspaper Program
    Ursinus College's Theater Capstone Course presents Isolated Together: Stories from the COVID-19 Pandemic A Living Newspaper Radio Play Mission Statement We have created this piece to share different experiences from the COVID-19 pandemic in the hope of fostering understanding of varying perspectives and beginning a conversation about what we can and should do during these unprecedented times. Our Process For our original Capstone project, we wanted to focus on the effects of technology on young people in society today. We spent the first few weeks of the semester narrowing down our research and coming to a consensus on the ideas we wanted to include in our living newspaper. Before going on spring break, we were going to finish working on our scenes for each vignette, with the goal of finalizing our product for our return. When COVID-19 hit, everything changed and the college moved to remote learning before anyone returned from Spring Break. With all of this change, we came together to figure out the future of our original plans. When we met over a video call, we decided to change our topic to the coronavirus pandemic. Although we could no longer stage our living newspaper for a live audience, we decided to write and perform it as a radio play to share the perspectives of different groups of people, bringing us together in our isolation. What is a living newspaper? As a part of the New Deal initiative, on April 8th, 1935 the Roosevelt administration passed the Emergency Relief Appropriation act which funded the Works Progress Administration (WPA).
    [Show full text]
  • The Living Newspaper in Philadelphia, 1938-1939
    332 The Living Newspaper in Philadelphia, 1938-1939 Arthur R. Jarvis, Jr. Penn State University Bythe mid-i 930s American live theatre was crippled by the combined effects of a faltering economy and motion picture innovations. More than 14,000 theatres were wired for movie sound by 1932 simply to cut expenses. Weekly film audiences in the tens of millions encouraged other theatres to convert to motion picture screens from vaudeville. One reason audiences were attracted to sound films was because admission cost a fraction of attending live theatre. As the Depression continued, road companies of stage shows were stranded across the country and vaudeville acts had difficulty finding adequate bookings. Under Works Progress Administration Federal Project Number One, the Federal Theatre Project was created in 1935 to put unemployed theatre people back to work, including actors, directors, playwrights, set designers, vaudeville acts, and even stage workers. I Hallie Flanagan Davis, Professor of Theatre at Vassar College and director of her school's experimental theatre, was appointed national director of the project. She divided the country into thirteen regions, each with its own director, to implement the Federal Theatre Project. The largest region was New York City because it was also the capital of the American theatrical world, but major units also existed in Chicago and Los Angeles. Flanagan's experience at Vassar's experimental theatre led her to encourage innovative plays and productions, but 95 percent of the FTP productions were standard
    [Show full text]
  • Mixed Folios
    mixed folios 447 The Anthology Series – 581 Folk 489 Piano Chord Gold Editions 473 40 Sheet Music Songbooks 757 Ashley Publications Bestsellers 514 Piano Play-Along Series 510 Audition Song Series 444 Freddie the Frog 660 Pop/Rock 540 Beginning Piano Series 544 Gold Series 501 Pro Vocal® Series 448 The Best Ever Series 474 Grammy Awards 490 Reader’s Digest Piano 756 Big Band/Swing Songbooks 446 Recorder Fun! 453 The Big Books of Music 475 Great Songs Series 698 Rhythm & Blues/Soul 526 Blues 445 Halloween 491 Rock Band Camp 528 Blues Play-Along 446 Harmonica Fun! 701 Sacred, Christian & 385 Broadway Mixed Folios 547 I Can Play That! Inspirational 380 Broadway Vocal 586 International/ 534 Schirmer Performance Selections Multicultural Editions 383 Broadway Vocal Scores 477 It’s Easy to Play 569 Score & Sound Masterworks 457 Budget Books 598 Jazz 744 Seasons of Praise 569 CD Sheet Music 609 Jazz Piano Solos Series ® 745 Singalong & Novelty 460 Cheat Sheets 613 Jazz Play-Along Series 513 Sing in the Barbershop 432 Children’s Publications 623 Jewish Quartet 478 The Joy of Series 703 Christian Musician ® 512 Sing with the Choir 530 Classical Collections 521 Keyboard Play-Along Series 352 Songwriter Collections 548 Classical Play-Along 432 Kidsongs Sing-Alongs 746 Standards 541 Classics to Moderns 639 Latin 492 10 For $10 Sheet Music 542 Concert Performer 482 Legendary Series 493 The Ultimate Series 570 Country 483 The Library of… 495 The Ultimate Song 577 Country Music Pages Hall of Fame 643 Love & Wedding 496 Value Songbooks 579 Cowboy Songs
    [Show full text]
  • Introducing Ficto-Feminism: a Non-Fiction, Fictitious Conversation
    The current issue and full text archive of this journal is available on Emerald Insight at: https://www.emerald.com/insight/1443-9883.htm QRJ 21,3 Introducing ficto-feminism: a non-fiction, fictitious conversation with Hallie Flanagan, 244 director of the Federal Theatre Received 12 October 2020 Project (1935–1939) Revised 6 February 2021 8 March 2021 Accepted 8 March 2021 Kristin S. Williams UEF Business School, University of Eastern Finland, Kuopio, Finland Abstract Purpose – Ficto-feminism is offered here as a creative method for feminist historical inquiry in management and organizational studies (MOSs). Design/methodology/approach – This paper introduces a new method called ficto-feminism. Using feminist polemics as a starting point, ficto-feminism fuses aspects of collective biography with the emic potential of autoethnography and rhizomatic capacity of fictocriticism to advance not only a new account of history in subject but also in style of writing. Findings – The aim of ficto-feminism is to create a plausible, powerful and persuasive account of an overlooked female figure which not only challenges convention but also surfaces her lost lessons and accomplishments to benefit today’s development of theory and practice. Research limitations/implications – The paper reviews the methodological components of ficto-feminism and speaks to the merit of writing differently and incorporating fictional techniques. Originality/value – To illustrate the method in action, the paper features a non-fiction, fictitious conversation with Hallie Flanagan (1890–1969) and investigates her role as national director of the Federal Theatre Project (FTP) (1935–1939). The FTP was part of the most elaborate relief programs ever conceived as part of the New Deal (a series of public works projects and financial reforms enacted in the 1930s in the USA).
    [Show full text]
  • Inside Facts of Stage and Screen (February 28, 1931)
    1! A STAGE PRICE 10 CENTS RADIO SCREEN MUSIC Only Theatrical Newspaper on the Pacific Coast EDITED BY JACK JOSEPHS ESTABLISHED 1924 Entered as Second Class Matter, April 29, 1927, at Published Every Saturday at 6253 Hollywood Boulevard, Vol. XIII ’ office, Los Angeles, Calif., under Act of March 3. Saturday, February 28, 1931 Hollywood, Calif. •No. 8 BIGGER STAGE SHOWSTO MEET H-F PRICE SLASH Tie-Up Of Plunkett Coin Hits On Coast Production For Meet “The only studio departments San Francisco, Feb. 27.— •working at anything like full swing meeting here between Joseph at present are the publicity depart- Plunkett and execuive chiefs on the west coast for R-K-O ments—and they’re working over- decided to continue stage time alibying for the slump in pro- shows in all R-K-O coast duction.” houses, and to build them up This statement was made confi- . to a more elaborate scale. dentially this week by a big picture Lines of girls will be added, exec., who was addressing a group and there will also be orches- of exhibitors’ representatives who tral pit shows, with both men were in town to find out what’s and women entertainers work- what for the coming year. ing in them. The exhibs, the stock market and Entry into the exhibition field of the inhabitants of Hollywood are the new Hughes-Franklin combina- | being fed with big stories regarding tion is not going to be taken ly- production, making one judge by ing down by the already establish- these stories that the town is even ed circuits.
    [Show full text]
  • The American Century Theater Presents Voodoo Macbeth Written by William Shakespeare and Adapted by Orson Welles Directed by Kathleen Akerley
    Theater you can afford to see— plays you can’t afford to miss! NEWS for immediate release February 2013 Contact Emily Morrison, 703-998-4555 (TACT office), 323-363-4404 (c) E-mail [email protected] And [email protected] Press photos Http://www.AmericAncentury.org/pHotos/voodoo/ The American Century Theater presents Voodoo Macbeth Written by WilliAm SHAkespeAre And Adapted by Orson Welles Directed by KAtHleen Akerley The AmericAn Century THeater will present Orson Welles’ AdAptAtion of SHAkespeare’s Macbeth, tHe sensationAl Voodoo Macbeth, MarcH 22 – April 13 at Gunston THeAtre II in Arlington. The FederAl TheAtre Project’s production of Voodoo Macbeth in 1936 is legendAry for its cast of AfricAn-AmericAn Actors. A mArginAlized group Heretofore seen in primArily dancing And singing roles, tHe plAy cHAllenged Audiences to Acknowledge And AppreciAte tHeir cleAr tAlent And Ability. Set in Haiti, Shakespeare’s tHemes of witcHcraft and the occult were replAced by the islAnd’s prActices of voodoo. Evoking Orson Welles’ reimAgining of Macbeth creAted a unique cHAllenge for THe AmericAn Century TheAter, which HAs mounted versions of Welles’ iconic stAge productions throughout its seventeen-year History witH notable success. No fewer tHan five TACT productions Have been inspired by Welles’ concepts And direction, including tHe Helen HAyes nominAted Moby Dick Rehearsed and tHe agitprop lAbor musicAl, The Cradle Will Rock. Artistic Director Jack MArsHAll explAins: “Unlike tHe otHer Welles shows, Voodoo Macbeth cAnnot be true to his vision if we stick closely to his stAging and casting ideas. Welles believed tHAt tHeAter sHould be exciting, surprising, And original.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Diss Final for Pdf2
    HOME FRONT AS WARFRONT: AFRICAN AMERICAN WORLD WAR I DRAMA BY Copyright 2010 Anna Katherine Egging Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Iris Smith Fischer Committee Members:________________________________ Maryemma Graham ________________________________ Janet Sharistanian ________________________________ Henry Bial ________________________________ Omofolabo Ajayi-Soyinka Date Defended: ___27 August, 2010_______________ ii The Dissertation Committee for Anna Katherine Egging certifies that this is the approved version of the following dissertation: HOME FRONT AS WARFRONT: AFRICAN AMERICAN WORLD WAR I DRAMA ________________________________ Chairperson, Iris Smith Fischer Date approved:____27 August 2010_______ iii Abstract This dissertation recovers little-known African American World War I plays that blur the boundary between the home front and warfront. I argue that with this focus, the plays wage their own war for African American citizenship rights, using language and performance to gain access to the “imagined” community of the nation. Yet plays from different time periods focus on diverse aspects of the Great War; these differences provide insight into how World War I was thought of and employed, and for what purposes, in African American communities during the interwar years. The project fills an important gap in African American drama, theatre, and war literature scholarship; no book-length analysis exists, yet scholarly conversations surrounding African Americans in the Great War are energetic. Despite scholars’ arguments that the war “gave birth” to the New Negro, the plays that dramatize the subject have drifted into obscurity. Thus, this project is overdue; the plays complete the historical picture of African American drama and provide a better understanding of the ways contemporary life in the United States is still haunted by World War I.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • On the Performance Front Internationalism and US Theatre
    The past is never dead. It's not even past NOT EVEN PAST Search the site ... On the Performance Front: Internationalism and US Theatre Like 11 Tweet by Charlotte Canning Grinnell College professor Hallie Flanagan wanted to challenge and transform herself as a theatre artist. “I can’t tell you how much I feel that I need this European training if I am to do anything distinctive…. I want rst hand knowledge of the theaters of the world…. In short, the year of foreign study is indispensable if I am to do work which is of power and value,” she wrote in her December 1925 John Simon Guggenheim Memorial Foundation application. Flanagan was one of many artists, not just in theater, who were heading to Europe in the 1920s to learn about innovative and sophisticated artistic practices. Her preparation to study abroad was impeccable. She was part of the rst generation of theatre artists in the US to receive specic university education in theatre practice. At Harvard University she studied with George Pierce Baker, who established theater as a serious course of study in higher education. A positive recommendation from him was the ultimate seal of approval. She was fortunate in her timing as well. Less than a generation earlier she would have had nowhere to turn to nd an organization interested in funding her work. The rise of the philanthropic foundation in the US is largely a twentieth-century phenomenon and one that has great bearing on the history of US theatre. The number of foundations in the US had risen from only three in 1902 to 40,000 by the end of the twentieth century.
    [Show full text]