Lorraine Brown, ed, Liberty Deferred and Other Living Newspapers of the 1930s Federal Theatre ProjectFairfax: George Mason University Press. 1989. 316 p. ISBN 0-913969-20-6. - George Kazacoff Dangerous Theatre: the Federal Theatre Project as a Forum for New PlaysNew York: Peter Lang, 1989. 369 p. $39.00. ISBN 0-8204-0752-6.

1994 ◽  
Vol 10 (39) ◽  
pp. 297-297
Author(s):  
Anthony Jackson
1990 ◽  
Vol 6 (23) ◽  
pp. 279-296 ◽  
Author(s):  
Gerry Cobb

Back in the early 1970s, the original Theatre Quarterly published a number of articles which revived interest in the Federal Theatre Project. In TQ 4, Heinz Bernard placed the work of the FTP's Living Newspaper Unit in the context of American left-wing theatrical practice in the 1930s, and a piece on its techniques by Arthur Arent, the principal writer of the Living Newspapers, first published in 1938, was reprinted in the same issue. Then, in TQ 9 (1973), came Arnold Goldman's incisive and far-ranging article, ‘Life and Death of the Living Newspaper Unit’, which not only traced the political rise and fall of the Unit and the Project, but suggested the importance of the Living Newspaper form to American political theatre, and identified important formal links with Soviet and German practices. This marked the beginning of a reassessment of the work of the Unit, whose reputation had been tarnished and somewhat marginalized in the wake of the FTP's closure by Congress on the grounds of political extremism, and the subsequent legacy of the McCarthy years. The present article by Gerry Cobb continues the reassessment process, and deals with the Living Newspaper considered most contentious of all both by Congressional opponents of the Project and by its own hierarchy – Injunction Granted. Cobb argues that this piece was singled out for attack because of its divergence from the policies of the New Deal, and its call for the organization of workers under the auspices of the CIO, its politics thus coming to obscure its theatrical strengths. His article both demonstrates the historical relevance of Injunction Granted at the time of its creation, and emphasizes and reassesses its strengths as a piece of theatre. Gerry Cobb is a postgraduate student at the University of East Anglia, Norwich, where, in addition to working on a doctoral thesis on the Living Newspapers, he is editing a volume of the four major works in the form, including Injunction Granted, for publication by Bristol Classical Press late in 1990.


Author(s):  
Lynn Mally

This article examines the migration of a Soviet agitational theatrical form from Russia to the United States in the 1920s and 1930s. The Soviet living newspaper, or zhivaia gazeta, began during the Russian Civil War as a method to act out a pro-Soviet version of the news for mainly illiterate Red Army soldiers. During the 1920s, it evolved into an experimental form of agitprop theater that attracted the interest of foreigners, who hoped to develop new methods of political theater in their own countries. In the United States, the living newspaper format was first adopted by American communist circles. Eventually, the depression-era arts program, the Federal Theatre Project (FTP), incorporated an expanded and altered version as part of its many offerings. Living newspapers eventually became one of the FTP’s most celebrated and criticized performance genres. The political content of American living newspapers was a major factor in the government’s elimination of the FTP in 1939.


Prospects ◽  
1990 ◽  
Vol 15 ◽  
pp. 325-358
Author(s):  
John O'Connor

The term “Living Newspaper” has been used to describe various topical theatrical productions adapting a considerable diversity of performance styles and relationships to an audience. For the Works Projects Administration (WPA) Federal Theatre Project (FTP) (1935–39), the Living Newspaper was a documentary drama that examined the nature, size, and origin of a current problem or issue. In theory, the action and dialogue would be completely objective by simply reenacting actual events. In practice, however, the authors of the Living Newspaper selected what they thought typical or representative to highlight or explain the “facts.” The play generally concluded by exhorting the audience to support a particular position or a specific piece of legislation.


2000 ◽  
Vol 44 (2) ◽  
pp. 107-122 ◽  
Author(s):  
John W. Casson

Living Newspapers—a hallmark of the Federal Theatre Project of the 1930s—were foretold in 1915 by the Italian futurists, brought into existence in 1919 in the Soviet Union, further developed in Vienna in the 1920s by the founder of psychodrama, Jacob Moreno, played in India in the 1960s and after, and are used as therapy today.


2006 ◽  
Vol 50 (1) ◽  
pp. 87-99
Author(s):  
John Bell

Donald Vestal's 1930s puppet theatre production of a Gertrude Stein play, Identity, or I Am I Because My Little Dog Knows Me, marked a confluence of Midwest modernism, the resources of the Federal Theatre Project, the development of American puppet theatre as a modernist art form, and the coincidental presence of Stein, Vestal, Thornton Wilder, Bil Baird, and other artists of 1930s Chicago.


Author(s):  
Kate Dossett

The evolving relationship between Black performers, and white and Black spectators, is central to the story of Black federal theatre. Chapter 2 examines what happens when Black performance and white spectatorship become the focus of the drama itself. It examines Abram Hill and John Silvera’s Liberty Deferred, alongside Stars and Bars, a satirical newspaper developed by the Hartford Negro Unit but usually credited solely to the white dramatist Ward Courtney. Both newspapers position white and Black spectators as objects of the Black gaze and both mock the pretensions to radical innovation by white Living Newspapers such as One Third of a Nation. Scholarship on the Federal Theatre’s Living Newspaper relies almost entirely on Living Newspapers developed and staged by white theatre practitioners. This chapter argues that Black Living Newspapers developed a variety of techniques to unmask the performative devices used within white Living Newspapers that consolidate even as they critique the racial discourses which enforce Black subordination. In so doing, they compelled white FTP administrators to engage with the history and practice of Black performance and white spectatorship.


2021 ◽  
pp. 81-128
Author(s):  
Naomi Graber

Several projects from the late 1930s saw Weill writing in American folk idioms in ways that he carried over into the 1940s. One Man from Tennessee (1937, unfinished), written for the Federal Theatre Project, uses Leftist language to address contemporary political issues, although problems with the libretto doomed the endeavor. The World’s Fair pageant Railroads on Parade (1939, rev. 1940) represents Weill’s willingness to work within the political center, which coincided with mounting tensions with Germany. After the war (and his naturalization), Weill returned to folk idioms with Down in the Valley (1948), which draws on some of the same musical, theatrical, and political ideas as One Man from Tennessee, but in a drastically different cultural context.


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