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901 kr
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901 kr
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This companion volume to American Theatre Companies, 1749-1887 (Greenwood Press, 1986) is an indispensable guide to an aspect of American theatre covered by no other reference work. Salient facts about resident acting companies of the period in the United States are presented in an easy-to-use format. Information from hundreds of published and unpublished sources relating to the dates, places, personnel, policies, and repertories of the most durable theatrical groups is encapsulated and arranged for easy access. Each entry includes dates and locations of the company's operations, names of managers with information about their artistic and business practices, as well as facts about key performers, designers, technicians, and other support personnel. An added dimension is provided in the analysis of each group's repertory and assessment of its commercial and artistic achievement. A bibliography of published sources used in the entry, as well as a guide to archival resources for further study are included.
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Because of its contemporary coverage, this volume is particularly interesting and useful. . . . Reference collections that deal with theater questions could find it a good source even without its two predecessor volumes, but the set as a whole is recommended. ChoiceAn outstanding reference collection is completed with the publication of Durham's American Theatre Companies, 1931-1986, an indispensable guide to an aspect of American theatre not covered elsewhere. The American theatre has undergone a process of decentralization and the focus has shifted from Broadway, once the proving ground for all nationally known theatre talent, to fine regional theatres across the nation. This volume surveys the fifty-year period in which this transformation occurred. The work consists of seventy-eight entries that profile a wide range of types of theatre companies including art theatres, units of the Federal Theatre project, workers' theatre, experimental theatre groups, ethnic theatre groups, children's theatre companies, and regional repertory companies, large and small. The Profiles section contains information-packed narratives from both published and unpublished sources that describe, analyze, and evaluate management policies, facilities, personnel, and repertories of these organizations. Each entry contains an extensive list of key personnel, including managers, designers, actors, and actresses, as well as plays that company produced. A bibliography of sources and a guide to archival resources for further study follows each entry. Two additional appendices are devoted to chronological and state-by-state listings of theatre companies. The volume concludes with an index of personal names and play titles.This important resource should be a part of every university's reference collection. It will be consulted by students and scholars of theatre and drama, American history, American popular culture, and American social and cultural history, as will its companion volumes American Theatre Companies, 1749-1887 (Greenwood Press, 1986) and American Theatre Companies, 1888-1930 (Greenwood Press, 1987).
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The winter of 1917-18 found the United States in a general upheaval. A large percentage of the world's population was at war and the United States itself was fully occupied with an unprecedented mass mobilization of its military forces, which were rushing headlong into an era of modern warfare. It was in this setting that the Liberty Theatres were opened. Created by the War Department's Commission on Training Camp Activities, these theatres aimed to produce "morally uplifting" plays and movies as a form of entertainment for thousands of troops--ideally proving more effective than policing the camps. In actuality, however, Liberty Theatres became little more than public relations ploys. Ultimately, although the theatres endeavored to provide a constructive form of recreation and diversion, they--and CTCA--fell far short of what had been promised.Compiled from a variety of government documents, camp newspapers and entertainment trade journals, this volume provides an in-depth look at the 42 Liberty Theatres created by the War Department during 1918 and 1919. It discusses the way in which these theatres were designed and run as well as the relationship between CTCA's somewhat idealistic leaders and the theatrical professionals who handled this day-to-day operation. Setting the military and the American theatre within their respective historical contexts, the book also explores the role of Liberty Theatres with regard to both entities. Appendices contain a listing of Liberty Theatre opening and closing dates; Liberty Theatre expenses; gross receipts and estimates of attendance; and the average weekly receipts of Liberty Theatres.