The Federal Theatre Project" Is Hosted on Wordpress, and Accompanied by an Online Archive Using Omeka.Net

Total Page:16

File Type:pdf, Size:1020Kb

The Federal Theatre Project Melanie McGeary, Dr. Jacqueline Beatty, History, York College of Pennsylvania 2020 Archive: https://federaltheatreproject.omeka.net Website: https://federaltheatreproject.wordpress.com Background The website: "The Federal Theatre Project" is hosted on Wordpress, and accompanied by an online archive using Omeka.net. The website focuses on the impacts of The Federal Theatre Project, a New Deal project that was established in 1935 by the Works Progress Administration. The project was created to bring jobs to unemployed theatrical professionals during the Great Depression, and also aimed to make theatre more accessible to the people of America. The project oversaw over 1,000 productions throughout its four- year lifespan. Shows varied from lighthearted children's shows to hard-hitting political dramas known as "The Living Newspapers." For a while, the productions was massively successful. Critics and audiences loved what Federal Theatre was providing. However, despite positive responses, the Federal Theatre Project was defunded in 1939 after accusations were made regarding leftist/communistic commentary in various productions.'The Federal Theatre Project, under the direction of Hallie Flanagan, played a large role in establishing the careers of many theatrical greats including Elia Kazan, Arthur Miller, and Orson Welles. Federal Theatre was recognized for bringing theatre beyond the walls of elite entertainment into more accessible environments across the country. Purpose After the semester was redirected online, the HIS399 class was challenged with creating an online website and archive using various research/digital creativity tactics we'd learned throughout the semester. Having done research on this topic for various classes in the past, this seemed like a good opportunity to dive deeper into research, and share what I've learned with others. This particular website/ archive duo was a digital public history venture created to share the impacts of the Federal Theatre Project on a larger and more accessible scale in comparison to something like a textbook or seminar class. In addition to this, it was created to show that Federal Theatre helped move theatre away from an elite and expensive form of entertainment. In addition to this, the Federal Theatre Project also strengthened theatre’s involvement in social/political movements at the time. The project’s “Living Newspaper” division was dedicated to producing works that integrated legitimate social and political issues happening in the country at the time. More information about this division can be found at https://federaltheatreproject.omeka.net/ exhibits/show/livingnewspaper Methodology I was able to utilize the Library of Congress Virtual Database for a majority of my archival research. The Library of Congress has an online collection dedicated exclusively to the Federal Theatre Project, and it contained thousands of photographs, newspaper reviews, posters, costume manuscripts, and script excerpts to sift through. Beyond that, because the Federal Theatre Project is a moderately niche topic, I dove as deeply as I could into the various databases and search engines like Google Scholar to find what I could about the various productions. However, sometimes all I could find was something like a New York Times article, of a college’s theatre page describing their own revamped production of a Federal Theatre classic. It was immensely challenging, but educational nonetheless. I knew going into this that people who stumbled across the page would either know a lot or nothing, so I wanted to make the website accessible to both. I was able to do that by connecting the website and archive to give people open access to look specifically at what interested them rather than guiding them through a pathway. Results I had done research on the Federal Theatre Project for multiple classes in the past, and I chose this topic so I could dive a little deeper than what I’d previously seen. Through this research, I was able to apply new creative concepts that I’d learned this semester (photoshop, Omeka, Time Mapper, etc.) to a topic that I was passionate about, and now I’m able to share it with the public. As I was researching, I found that the Federal Theatre Projects was truly one of the most ambitious theatrical projects of American history. While the primary goal was to bring jobs to unemployed professionals, another goal was to make theatre openly accessible. In the end, the advisors wanted Federal Theatre to leave a legacy that could thrive even after the project was concluded. It’s heartbreaking to see that the execution wasn’t as sustainable as previously anticipated, but it’s nice to see that even now, almost 90 years after the project’s original inception, the methods and ideologies of the Federal Theatre Project still hold true in some places around the United States. I’m hoping that others can see the importance of that as well. Acknowledgments I owe a lot to the Library of Congress, really. I was able to find a majority of my archival material there without any sort of hitch or block in the road. I also want to acknowledge Dr. Beatty for being so accommodating and kind throughout the semester. She made the class very interesting and fun to work through. I was able to learn new research and design tactics that I will most certainly utilize throughout the rest of my academic career. I also appreciate being able to dive deeper into a topic that I was truly passionate about that not a lot of people are aware of. References “Dr. Faustus (New York) (Orson Welles): Photographic Negative,” The Federal Theatre Project, accessed May 30, 2020, https://federaltheatreproject.omeka.net/admin/items/show/22. “Power (New York): Poster,” The Federal Theatre Project, accessed May 30, 2020, https:// federaltheatreproject.omeka.net/admin/items/show/6. “Macbeth (New York): Production Photo,” The Federal Theatre Project, accessed May 30, 2020, https:// federaltheatreproject.omeka.net/admin/items/show/8. “It Can't Happen Here (Columbia): Poster,” The Federal Theatre Project, accessed May 30, 2020, https://federaltheatreproject.omeka.net/admin/items/show/15. “Power (New York): Photographic Negative "Power #18",” The Federal Theatre Project, accessed May 30, 2020, https://federaltheatreproject.omeka.net/admin/items/show/19..
Recommended publications
  • 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]
  • 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]
  • Sarah Vandewalle 1 Banned in Boston: Censorship and Self
    Sarah Vandewalle 1 Banned In Boston: Censorship and Self-Censorship in Boston’s Federal Theatre Project Chapter 1: “Banned in Boston” Censorship In 1904, the city of Boston passed a law giving mayors the ability to revoke a theatre’s license for any reason.1 This act heralded the decades of heavy censorship leading up to the Federal Theatre Project’s production years. Through both cultural institutions and government authorities, Boston developed a censorship apparatus to shut down unapproved artworks. Upper classes and conservative groups used theatrical censorship— along with literary and film censorship—to prevent radicalism, sexuality, anti- religiousness, and progressiveness. After several prominent censorship cases in the years preceding the FTP cemented the apparatus, the Project’s first major production ran into a censorship scandal of its own. Brahmins, the social elite descended from early colonists, had long arbitrated Boston culture. Other social groups like the less affluent “Yankee” colonist stock looked to the Brahmins for taste in art, literature, and theatre.2 In the early Twentieth century, this select group turned to traditional values in an attempt to retain prominence they were losing in the political arena, as Yankees and new immigrant groups such as the Irish and Italians gained much political power during this period. New generations and social groups brought current business techniques and boss politics, as well as modernism in the arts and sciences, but the Brahmins refused to engage in modern values. As social historian Frederic Cople Jaher explains, “in politics, as in education and business, those who 1 John H. Houchin, Censorship of the American Theatre in the Twentieth Century (New York, 2 Paul S.
    [Show full text]
  • AMERICAN-MADE the Enduring Legacy of the WPA by Nick Taylor
    NEW DEAL CHRONOLOGY 1929–1946 From AMERICAN-MADE The Enduring Legacy of the WPA By Nick Taylor www.americanmadebook.com October 29, 1929: The “Black Tuesday” stock market crash that ushers in the Great Depression. November 1, 1931: New York State under Governor Franklin Delano Roosevelt establishes Temporary Emergency Relief Administration (TERA), the first state agency to provide assistance for the unemployed. January 21, 1932: FDR announces his candidacy for the Democratic nomination. March 1, 1932: Infant son of famous aviator Charles Lindbergh is kidnapped. March 7, 1932: Four killed by police in march of unemployed on Ford plant in Dearborn, Michigan. April 7, 1932: FDR “forgotten man” speech. May 26, 1932: FDR speech at Oglethorpe University calling for “bold, persistent experimentation.” June 16, 1932: Herbert Hoover nominated by Republicans as candidate for second term. July 1, 1932: Democratic National Convention in Chicago nominates FDR as party’s candidate for president. July 2, 1932: FDR breaks tradition by accepting nomination in person at convention. July 8, 1932: Dow Jones Industrials hit a low of 41.22, down 89 percent from the pre-depression peak of 381.17. July 21, 1932: President Herbert Hoover sets aside $300 million in Reconstruction Finance Corporation funds for loans to states and cities to fight unemployment. July 28, 1932: “Bonus Army” of world war veterans petitioning for immediate payment of a deferred service bonus is evicted from their camps in Washington by army troops under General Douglas MacArthur. August 11, 1932: Hoover is officially informed of his renomination as Republican presidential candidate, and accepts. November 8, 1932: Roosevelt defeats Hoover.
    [Show full text]
  • Hallie Flanagan Papers from the Federal Theater Project
    Hallie Flanagan papers from the Federal Theater Project Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Hallie Flanagan papers from the Federal Theater Project AAA.flanhall Collection Overview Repository: Archives of American Art Title: Hallie Flanagan papers from the Federal Theater Project Identifier: AAA.flanhall Date: 1935-1939 Creator: Flanagan, Hallie, 1890-1969 Extent: 17 Reels (ca. 4,000 items (on 17 negative microfilm reels)) Language: English . Administrative Information Acquisition Information Flanagan's papers were filmed by AAA during a project called "New Deal and the Arts" which AAA directed from 1963-1966. Location of Originals Originals in New York Public
    [Show full text]
  • The Federal Theatre Project: Analyzing Conflict Among Relief, Art, and Politics in 1930S America
    The Federal Theatre Project: Analyzing Conflict among Relief, Art, and Politics in 1930s America Author: Matthew Power, Patapso High School, Baltimore County Public Schools Grade Level: Middle/High Duration of lesson: 1-2 periods Overview: The Federal Theatre Project (1935-1939), one of four arts projects created under the Works Progress Administration (WPA), embodied the possibilities and flaws of President Franklin Delano Roosevelt’s early response to the Great Depression. In addition to providing assistance to show people, the Federal Theatre Project sought to bring meaningful theater to the populace, while simultaneously altering and expanding the relationship between the government and the arts. Similar to other New Deal relief programs, attacks were waged on the Federal Theatre Project by opponents who questioned this growing role of government in the lives of individuals and the art it produced. In this lesson, students will examine numerous primary sources to learn about the accomplishments of the Federal Theatre Project. Students will evaluate the behavior of key decision-makers to determine the project’s ultimate effectiveness as a relief and arts program. Related National History Standards: Content Standards: Era 8: The Great Depression and World War II (1929-1945) Standard 2: How the New Deal addressed the Great Depression, transformed American federalism, and initiated the welfare state Historical Thinking Standards: Standard 3: Historical Analysis and Interpretation D. Consider multiple perspectives. Standard 4: Historical Research Capabilities A. Formulate historical questions. C. Interrogate historical data. D. Identify the gaps in the available records, marshal contextual knowledge and perspectives of the time and place, and construct a sound historical interpretation.
    [Show full text]
  • It Can't Happen Here
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 11-12-2017 Precarious Democracy: "It Can't Happen Here" as the Federal Theatre's Site of Mass Resistance Macy Donyce Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Dramatic Literature, Criticism and Theory Commons, Theatre History Commons, and the United States History Commons Recommended Citation Jones, Macy Donyce, "Precarious Democracy: "It Can't Happen Here" as the Federal Theatre's Site of Mass Resistance" (2017). LSU Doctoral Dissertations. 4165. https://digitalcommons.lsu.edu/gradschool_dissertations/4165 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PRECARIOUS DEMOCRACY: IT CAN’T HAPPEN HERE AS THE FEDERAL THEATRE’S SITE OF MASS RESISTANCE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Theatre by Macy Donyce Jones B.A., Arkansas Tech University, 2003 M.A., Louisiana Tech University, 2005 December 2017 Acknowledgements There are so many people who have helped me make this dissertation a reality. Their contributions, both material and emotional, have been invaluable and too numerous to give a full account. I am forever grateful for the friendship, advice and support of the people who have helped me navigate this project.
    [Show full text]
  • Dreaming America
    DREAMING AMERICA Popular Front Ideals and Aesthetics in Children’s Plays of the Federal Theatre Project LESLIE ElAINE FROST THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Frost, Leslie Elaine. Dreaming America : popular front ideals and aesthetics in children’s plays of the Federal Theatre Project / Leslie Elaine Frost. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1213-4 (cloth : alk. paper) — ISBN 0-8142-1213-1 (cloth : alk. paper) — ISBN 978-0-8142-9314-0 (cd-rom) 1. Federal Theatre Project (U.S.) 2. American drama—20th century—History and criticism. 3. Children’s plays, American—History and criticism. I. Title. PS351.F76 2013 812'.5099282—dc23 2012032475 Cover design by Laurence J. Nozik Type set in Adobe Minion Pro and Poppl-Laudatio Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations v Acknowledgments vii INTRODuctION Children’s Theatre of a People’s Theatre 1 CHAPTER 1 Federal Theatre Project Dreams: Raising an Educated Audience for a Permanent American National Theatre 23 CHAPTER 2 “We Should Have Called It Rumpelstiltskin”: A Labor Fairy Tale Gets Real in The Revolt of the Beavers 43 CHAPTER 3 “I Looked Him Right Square in the Eye”: Being African American in The Story of Little Black Sambo 71 CHAPTER 4 “Shadows of Your Thoughts Are Marching”: Anti-Fascism and Home-front Patriotism in Federal Theatre’s A Letter to Santa Claus and Hollywood’s The Little Princess 108 CHAPTER 5 Wishing on a Star: Pinocchio’s Journey from the Federal Stage to Disney’s World 128 CONCLusION Death of a Dream 140 Notes 149 Works Cited 177 Index 188 ILLUSTRATIONS FIGURE 1.
    [Show full text]
  • 8. Work for Artists, Arts for America: Federal Project Number One Fdr4freedoms 2
    fdr4freedoms 1 The Depression hammered creative artists of all kinds—painters 8. Work for Artists, and sculptors, musicians, writers, and actors. Two-thirds of the American Federation of Musicians lost their jobs. Performance venues suffered a steep decline. Half of Broadway theaters Arts for America: went dark. Prices paid for paintings plummeted 66 percent. A majority of graphic artists hired by magazines were thrown out of work. Newspaper and book sales plunged. Federal Project Franklin D. Roosevelt’s favored approach to helping the unemployed was to move them off “the dole” and into government-sponsored work relief. So in 1935, he Number One authorized the Works Progress Administration (WPA) to hire jobless Americans to build visible, useful projects in their communities—projects like roads, bridges, schools, airports, and dams. Americans understood physical labor. But many were A New York City theater announces it will accept checks drawn on local banks during Franklin D. strangers to the effort involved in painting, writing, or playing Roosevelt’s nationwide emergency bank closure, March an instrument. “Are artists workers?” they asked. “Why not?” 1933. Performance venues suffered during the Great was FDR’s reply. “They are human beings. They have to live.” Depression as audiences dwindled. Half of Broadway theaters shut their doors. Work-relief administrator Harry Hopkins put it even more II. Hope, Recovery, Reform: The Great Depression and FDR’s New Deal 8. Work for Artists, Arts for America: Federal Project Number One fdr4freedoms 2 plainly: “Hell, they’ve got to eat just like other New Deal. And they set a precedent for A Federal Writers’ Project (FWP) presentation of Who’s Who people.” The two men launched the Federal government patronage of the arts.
    [Show full text]
  • Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood
    Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Adaptation as Transmutation: Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood Ruby Elizabeth Smyth Meyers-McEnroe Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Dramatic Literature, Criticism and Theory Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Smyth Meyers-McEnroe, Ruby Elizabeth, "Adaptation as Transmutation: Shakespeare in Orson Welles "Voodoo" Macbeth and Kurosawa's Throne of Blood" (2016). Senior Projects Spring 2016. 106. https://digitalcommons.bard.edu/senproj_s2016/106 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Adaptation as Transmutation: Shakespeare in Orson Welles’ “Voodoo” Macbeth and Akira Kurosawa’s Throne of Blood Throne of Blood, 1957 Toho Company Senior Project Submitted to The Division of Theatre and Performance of Bard College by Ruby Smyth Meyers-McEnroe Annandale-on-Hudson, NY May 2016 1 Table of Contents: Introduction: The Adaptation Debate 2-5 Chapter One: Critical Interpretations of Macbeth 6-10 Chapter Two: Orson Welles “Voodoo” Macbeth 11-23 Chapter Three: Akira Kurosawa’s Throne of Blood 24-40 Conclusion: The importance of Adaptive Freedom 41-43 Bibliography 44-46 1 2 Introduction: The Adaptation Debate It would be difficult to define the term “adaptation” in a way that could be mutually agreed upon throughout the world of art and literary criticism.
    [Show full text]
  • ABSTRACT Title of Dissertation: STAGING THE
    ABSTRACT Title of Dissertation: STAGING THE PEOPLE: REVISING AND REENVISIONING COMMUNITY IN THE FEDERAL THEATRE PROJECT Elizabeth Ann Osborne, Doctor of Philosophy, 2007 Directed By: Dr. Heather S. Nathans Department of Theatre The Federal Theatre Project (FTP, 1935-1939) stands alone as the only real attempt to create a national theatre in the United States. In the midst of one of the greatest economic and social disasters the country has experienced, and between two devastating wars, the FTP emerged from the ashes of adversity. One of the frequently lampooned Arts Projects created under the aegis of President Franklin Delano Roosevelt’s New Deal, the FTP lived for four short, turbulent, and exhilarating years. Under the leadership of National Director Hallie Flanagan, the FTP employed more than 13,000 unemployed theatre professionals, brought some much needed emotional support to an audience of more than 30 million, and fought to provide locally relevant theatre for the people of the United States. Yet, how does a national organization create locally relevant theatre in cities and towns throughout this diverse country? Each chapter addresses the same overarching question: How did the FTP develop a relationship with its surrounding communities, and what were the dynamics of that relationship? The regions all dealt with the question in a manner that was unique to their experiences, and which was dependent upon the political, social, cultural, and economic issues that made the communities themselves distinct. Recognizing these differences is vital in understanding both the FTP and the concept of a national theatre in America. This dissertation considers the perceived successes and failures of specific case studies in both urban and rural locations in four of the five major regions, the Midwest, South, East, and West.
    [Show full text]
  • The Cradle Will Rock” (Original Cast Recording) (1938) Added to the National Registry: 2002 Essay by Howard Pollack (Guest Post)*
    “The Cradle Will Rock” (Original cast recording) (1938) Added to the National Registry: 2002 Essay by Howard Pollack (guest post)* Marc Blitzstein Original label Original album packaging The opera “The Cradle Will Rock” (1936-37), composer-librettist Marc Blitzstein’s first big success, proved a turning point in his career, and its premiere, a legendary event in the annals of the American theater. Born into a Philadelphia family of Jewish-Russian heritage, Blitzstein (1905-1964), early in life, earned some notice as a piano prodigy, but he increasingly turned his attention to musical composition, which he studied with Rosario Scalero at the Curtis Institute, Nadia Boulanger in Paris, and Arnold Schoenberg in Berlin. Completing his education while still in his early twenties, and settling in New York, he spent the next ten years eking out a living as a lecturer and writer on contemporary music, of which he had vast knowledge, while periodically retreating to Europe to compose a variety of instrumental, vocal, and stage works. Although primarily homosexual, during these years he usually traveled with his lover and later wife, the writer Eva Goldbeck, to whom he dedicated most of his early scores, and who died tragically young of anorexia in 1936, just prior to the creation of “The Cradle Will Rock.” Blitzstein radical tendencies, partly conditioned by his socialist family, initially took artistic expression in his interest in avant-garde trends, very much including the music of Stravinsky. But in the course of the 1930s, as he became increasingly involved with the New York’s Composers’ Collective, he successfully absorbed more popular currents, including not only the music of German composers Kurt Weill and Hanns Eisler, but the theatrical ideas of one of their principal collaborators, playwright Bertolt Brecht.
    [Show full text]