FIRST DRAMA THEATRES OF THE UNITED STATES OF AMERICA
UDC index:
792
DOI: 10.31773/2078-1768-2019-46-72-79
Article ID in the RSCI:
Article file: Download
Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: The article analyzes the reasons for the appearance of the first drama theatres in the United States as opposed to commercial Broadway, where producers sacrificed everything for the sake of financial success. The Provincetown Theater (1915) devoted itself to staging plays by E. O’Neill, attracted new audience and formed an actors’ ensemble. The history of the Civic Repertory Theatre (1926) under the direction of Eva Le Gallienne, the Guild Theater (founded in 1918), and the Group Theater approved that an art theatre cannot exist without constant financial support from the state or individuals. Their activities of these companies as well as others prove that a theater can achieve real artistic success not only in virtue of the personal talents of individual actors, the so called ‘stars’, but as a result of the organization of the whole team subordinated to the same creative tasks. The Barter Theatre (1933) was able to withstand commercialism through a policy of public recognition and additional subsidies. Professors of Princeton University W. Baumol and W. Bowen, relying on the activities’ data of the Barter Theater, consider it highly indicative and representative and include this theatre to the list of the thirteen non-commercial regional theaters to be studied. Its positive organizational and creative experience helped to create the first regional theatres. The emergence of theatres “Arena Stage” in Washington, “Old Globe” in San Diego and others has become a new stage in the theatrical business in the United States. The creation of new theatrical groups in the period of market economy is relevant for the modern Russia with its need for different forms of support for non-profit theatres.
Keywords: Broadway, Provincetown, Barter Theatre, R. Porterfield, W. Baumol, W. Bowen, regional theatres, Guthrie Theater, Arena Stage, Mark Taper Forum, non-profit and repertoire theatres.
DOI: 10.31773/2078-1768-2019-46-72-79
Article ID in the RSCI:
Article file: Download
Information about authors: Samitov Dmitriy Gennadyevich, PhD in Sociology, Associate Professor of Department Producing and Management of Performing Arts, Production Faculty, Russian University of Theatre Arts – GITIS (Moscow, Russian Federation). E-mail: goodluck@bk.ru
Annotation: The article analyzes the reasons for the appearance of the first drama theatres in the United States as opposed to commercial Broadway, where producers sacrificed everything for the sake of financial success. The Provincetown Theater (1915) devoted itself to staging plays by E. O’Neill, attracted new audience and formed an actors’ ensemble. The history of the Civic Repertory Theatre (1926) under the direction of Eva Le Gallienne, the Guild Theater (founded in 1918), and the Group Theater approved that an art theatre cannot exist without constant financial support from the state or individuals. Their activities of these companies as well as others prove that a theater can achieve real artistic success not only in virtue of the personal talents of individual actors, the so called ‘stars’, but as a result of the organization of the whole team subordinated to the same creative tasks. The Barter Theatre (1933) was able to withstand commercialism through a policy of public recognition and additional subsidies. Professors of Princeton University W. Baumol and W. Bowen, relying on the activities’ data of the Barter Theater, consider it highly indicative and representative and include this theatre to the list of the thirteen non-commercial regional theaters to be studied. Its positive organizational and creative experience helped to create the first regional theatres. The emergence of theatres “Arena Stage” in Washington, “Old Globe” in San Diego and others has become a new stage in the theatrical business in the United States. The creation of new theatrical groups in the period of market economy is relevant for the modern Russia with its need for different forms of support for non-profit theatres.
Keywords: Broadway, Provincetown, Barter Theatre, R. Porterfield, W. Baumol, W. Bowen, regional theatres, Guthrie Theater, Arena Stage, Mark Taper Forum, non-profit and repertoire theatres.
