Triple-A Plowed Under
Author | : Arthur Arent |
Publisher | : |
Total Pages | : 0 |
Release | : 1937 |
Genre | : Living newspaper |
ISBN | : |
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Author | : Arthur Arent |
Publisher | : |
Total Pages | : 0 |
Release | : 1937 |
Genre | : Living newspaper |
ISBN | : |
Author | : Federal Theatre Project (U.S.). National Service Bureau |
Publisher | : |
Total Pages | : 208 |
Release | : 1938 |
Genre | : |
ISBN | : |
Author | : Ann Folino White |
Publisher | : Indiana University Press |
Total Pages | : 322 |
Release | : 2014-11-11 |
Genre | : Political Science |
ISBN | : 0253015383 |
A study of Depression-era anger at food waste: “An invaluable contribution to history, theater history, cultural studies, American studies, and other fields.” —Journal of American History During the Great Depression, with thousands on bread lines, farmers were instructed by the New Deal Agricultural Adjustment Act to produce less food in order to stabilize food prices and restore the market economy. Fruit was left to rot on trees, crops were plowed under, and millions of piglets and sows were slaughtered and discarded. Many Americans saw the government action as a senseless waste of food that left the hungry to starve, initiating public protests against food and farm policy. Ann F. White approaches these events as performances where competing notions of morality and citizenship were acted out, often along lines marked by class, race, and gender. The actions range from the “Milk War” that pitted National Guardsmen against dairymen who were dumping milk, to the meat boycott staged by Polish-American women in Michigan, and from the black sharecroppers’ protest to restore agricultural jobs in Missouri to the protest theater of the Federal Theater Project. White provides a riveting account of the theatrical strategies used by consumers, farmers, agricultural laborers, and the federal government to negotiate competing rights to food and the moral contradictions of capitalist society in times of economic crisis.
Author | : John H. Houchin |
Publisher | : Cambridge University Press |
Total Pages | : 360 |
Release | : 2003-06-26 |
Genre | : Drama |
ISBN | : 9780521818193 |
John Houchin explores the impact of censorship in twentieth-century American theatre. He argues that theatrical censorship coincides with significant challenges to religious, political and cultural traditions. Along with the well-known instance of the House Un-American Activities Committee in the 1950s, other almost equally influential events shaped the course of the American stage during the century. The book is arranged in chronological order. It provides a summary of censorship in eighteenth- and nineteenth-century America and then analyses key political and theatrical events between 1900 and 2000. These include a discussion of the 1913 riot after the Abbey Theatre touring produdtion of Playboy of the Western World; protests against Clifford Odet's Waiting for Lefty, performed by militant workers during the Depression; and reactions to the recent play Angels in America.
Author | : Federal Theatre Project (U.S.) |
Publisher | : |
Total Pages | : 276 |
Release | : 1938 |
Genre | : Agriculture |
ISBN | : |
Author | : Loren Kruger |
Publisher | : University of Chicago Press |
Total Pages | : 260 |
Release | : 1992-08 |
Genre | : Drama |
ISBN | : 9780226454979 |
The idea of staging a nation dates from the Enlightenment, but the full force of the idea emerges only with the rise of mass politics. Comparing English, French, and American attempts to establish national theatres at moments of political crisis—from the challenge of socialism in late nineteenth-century Europe to the struggle to "salvage democracy" in Depression America—Kruger poses a fundamental question: in the formation of nationhood, is the citizen-audience spectator or participant? The National Stage answers this question by tracing the relation between theatre institution and public sphere in the discourses of national identity in Britain, France, and the United States. Exploring the boundaries between history and theory, text and performance, this book speaks to theatre and social historians as well as those interested in the theoretical range of cultural studies.
Author | : Larne Abse Gogarty |
Publisher | : BRILL |
Total Pages | : 240 |
Release | : 2022-03-16 |
Genre | : Art |
ISBN | : 9004471553 |
Usable Pasts addresses projects dating to two periods in the United States that saw increased financial support from the state for socially engaged culture. By analysing artworks dating to the 1990s by Suzanne Lacy, Rick Lowe and Martha Rosler in relation to experimental theatre, modern dance, and photography produced within the leftist Cultural Front of the 1930s, this book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.
Author | : C. W. E. Bigsby |
Publisher | : Cambridge University Press |
Total Pages | : 364 |
Release | : 1982-07-29 |
Genre | : Drama |
ISBN | : 9780521271165 |
Eugene O'Neill - Clifford Odets - Left-wing theatre - Black drama - Thornton Wilder - Lillian Hellman - Luigi Pirandello - Arthur Miller.
Author | : |
Publisher | : |
Total Pages | : 738 |
Release | : 1997 |
Genre | : Archives |
ISBN | : |
Author | : Elizabeth B. Crist |
Publisher | : Oxford University Press |
Total Pages | : 272 |
Release | : 2009-01-12 |
Genre | : Music |
ISBN | : 9780199724291 |
In the 1930s, Aaron Copland began to write in an accessible style he described as "imposed simplicity." Works like El Sal?n M?xico, Billy the Kid, Lincoln Portrait, and Appalachian Spring feature a tuneful idiom that brought the composer unprecedented popular success and came to define an American sound. Yet the cultural substance of that sound--the social and political perspective that might be heard within these familiar pieces--has until now been largely overlooked. While it has long been acknowledged that Copland subscribed to leftwing ideals, Music for the Common Man is the first sustained attempt to understand some of Copland's best-known music in the context of leftwing social, political, and cultural currents of the Great Depression and Second World War. Musicologist Elizabeth Crist argues that Copland's politics never merely accorded with mainstream New Deal liberalism, wartime patriotism, and Communist Party aesthetic policy, but advanced a progressive vision of American society and culture. Copland's music can be heard to accord with the political tenets of progressivism in the 1930s and '40s, including a fundamental sensitivity toward those less fortunate, support of multiethnic pluralism, belief in social democracy, and faith that America's past could be put in service of a better future. Crist explores how his works wrestle with the political complexities and cultural contradictions of the era by investing symbols of America--the West, folk song, patriotism, or the people--with progressive social ideals. Much as been written on the relationship between politics and art in the 1930s and '40s, but very little on concert music of the era. Music for the Common Man offers fresh insights on familiar pieces and the political context in which they emerged.