Arthur Gewirtz - Böcker

The theatre and drama of the 1920s reflect a synergy of art, glitter, and glitz—a decade of great mainstream playwrights and a flourishing popular and commercial theatre, but it was also a decade in which discontented artists and a variety of people on the margins of American society could find a means of expressing their views.Gewitz and Kolb assemble 20 essays that reflect recent scholarship and research, focusing on generally unknown or ignored aspects of the decade: John Howard Lawson's polemics, especially in his most important play, Processional, his proclivity for using jazz and mixing the devices of popular theatre with serious drama, and his collaborations with the maverick designer Mordecai Gorelik; the first appearances of serious African-American drama, including discussions of African-American theatre critics and the work of dramatists Wallace Thurman, Garland Anderson, Willis Richardson, Frank Wilson, Angela Weld Grimke, Georgia Douglas Johnson, Myrtle Smith Livington, and Marita Bonner; the problematic depictions of African-Americans and other non-native characters on the stage; contributions of women artists and playwrights such as Eva Le Gallienne, Sophie Treadwell, and Susan Glaspell; and the search for new possibilities in theatre and set design, including an examination of the little-known Jane Heap, editor of The Little Review and a lesbian modernist who presented a pivotal International Theatre Expositon in 1926. An important resource for scholars, students, and other researchers of 20th-century American theatre and drama.

The theatre and drama of the 1920s reflects a great synergy of art, glitter, and glitz—a decade of experimentation and incubation for mainstream American playwrights coexisting with important revivals of European playwrights and Shakespeare, a flourishing commercial theatre, and the vibrant worlds of burlesque, musical comedy, Revues and Follies.The 22 essays gathered by Gewitz and Kolb reflect recent scholarship and research, including several provocative, new readings of the plays of Eugene O'Neill, contrasting essays for and against the significance of Philip Barry, and considerations of less well-known plays by Elmer Rice and Sidney Howard. Essays also address the continuing relevance of Anderson and Stallings' What Price Glory?, the impact of George Pierce Baker on the playwrights of the 1920s, an analysis of the commercial success, Broadway, and a thoroughly detailed account of the Dramatists Guild and its negotiation of a minimum basic agreement. Essays on the popular theatre cover an extraordinary gamut from the popularization of Shakespeare in the hands of John Barrymore to the contrasting acting styles of Jeanne Eagels and Pauline Lord, the one-night Revue presented by members of the Algonquin Circle, grand-guignol, Ring Lardner on Broadway, the Ziegfeld Follies, downtown burlesque, the travesty act of Barbette, the production history of A. H. Woods, and the early musical comedy of Rodgers and Hart. An important resource for scholars, students, and other researchers involved with 20th-century American theatre and drama.