Newspapers are terms for theatrical forms that present factual information about current events to popular audiences. Historically, Living Newspapers has also urged social action (both implicitly and explicitly) and reacted to the naturalistic and realistic theatrical conventions that support more direct experimental theatrical agitprop theories, including extensive multimedia usage.
Although the Newspapers came from Russia during the Bolshevik Revolution, the English term was most often associated with the Newspapers produced by the Federal Theater Project. Part of a federally-funded art program established under the United States Government of Employment Progress in the 1930s, the Federal Theater Project wrote and presented a number of Newspapers on social issues of the day, including Triple-A Hijacked in Down , Injection Given , One-Third Nation , Powers, and Spirochete. Controversy over the Political Ideology of the Newspapers contributed to the dissolution of the Federal Theater Project in 1939, and a number of Newspaper Letters already written or in development were never carried out, including some that addressed the issue of race.
Video Living Newspaper
Sejarah Surat Kabar Hidup FTP
Pembentukan Unit NY Living Newspaper dan Ethiopia
... [The Newspaper] seeks to dramatize new struggles - the average American search today for knowledge of his country and world; to dramatize his struggle to transform the vast natural and economic forces of our time toward a better life for more people.
The Living Newspaper program began very shortly after the creation of the Federal Theater Project (FTP). After his appointment as FTP National Director in July 1935, Hallie Flanagan, a professor and screenwriter at Vassar College, and playwright Elmer Rice began working on organizing the organization and focus of FTP. The New York Living Newspaper Unit came from this meeting; allied to the American Newspaper Guild, this is the first and most active of Living Newspaper Units employing unemployed journalists and theater professionals of all kinds, providing hourly wages to many journalists and entertainers who do not work in the Depression.
Research staff from the Newspaper Unit quickly compiled their first Life Newsletter, Ethiopia, who went to practice in 1936. It was never opened to the public. The federal government issued a censorship order prohibiting impersonation of heads of state on stage; the order effectively halted production, which dramatized the Ethiopian invasion by Italy and featured Italian dictator Benito Mussolini and other real-life figures prominently as characters. Elmer Rice withdrew from FTP in protest.
Controversy: Triple-A Hijacked Under and Injection Given
Left untouched without scripts and an urgent need to provide performance with a game, the Unit created another Living Triple, A Living minor newspaper, The 1935 event, follows Triple-A Ploughed Under . Scratching scenes from many news events of 1935, ranging from celebrity gossip to major legal cases, 1935 only lasted for 34 shows. Cosgrove identified it as "the most unsuccessful" of all Newspapers. Although Triple-A has clearly criticized the government's decision and supports the workers over the "merchants," the third Living Living Living, also directed by Losey, explicitly supports workers' organizations and angered members of the federal government. Injure Granted, opened four months after the close of Triple-A, denouncing big business people like HJ Heinz and William Randolph Hearst's newspaper barons and calling on unions to join Congress of Industrial Organizations (CIO), a large militant workers association. This aroused the government's attention during training; and Hallie Flanagan urged Losey to rewrite parts of the manuscript, but the drama made it very unchanged. This work is alluding to excessive satire and explicit bias: Heinz was introduced by holding giant pickles; Dean Jennings of the Newspaper Newspaper beat Hearst in a boxing match; and a clown (played by actor Norman Lloyd) served as the host for the entire production, according to Cosgrove. Injection Given drew a massive criticism and closed early. Losey immediately left Unit and FTP, though Flanagan offered to give her another chance. Turnover: Strength and One third of Nations
Here is a game that does not have a hero, or heroine, who does not have a great character or a fantastic character... here is a game about you.
By censorship Ethiopia and a negative reaction to Injunction Granted, The Living Newspaper Unit has twice attracted criticism from the government that funded it. To continue as a federal program, it becomes more retrospect and less politically radical in choosing the topic but does not give up the dedication to reportage on major social issues and calls for social change.
His first production following Injunction Granted shows this new emphasis. Opened earlier in 1937, the Power clearly supported the New Deal and Progress Administration policies. Power records publicly available consumer search for affordable power and lifts the Tennessee Valley Authority project as an example of where the power originated. The drama also introduced the "little man" figure to Living Newspaper - a character representing consumers and the public, emerging throughout the game, asking questions and accepting explanations. Power garnered a positive reception, walked for 140 gigs and then converted to a minimized travel form for summer performances throughout the city.
The next live newspaper also meets with public and critical success. During the summer of 1937, Flanagan oversaw the Federal Theater Project Summer School at Vassar College; forty theatrical artists invited to this program developed the first version of the Newspaper Live in the tenant housing that grew into One-third Nation. In its completed form, One third of a Nation opened in early 1938 and ran for 237 shows, making it the most successful of the Newspapers Live. The game abandoned some of the experimental properties of the previous Newspapers, using a very realistic set to show the dirt and the dangers of tenant slums, but retaining the episodic and multimedia formats (sound, film, and image) that show the shape. Production received praise from critics and may have helped push through housing legislation. Eventually opened in major cities across the country.
End of FTP and Live News Unit
Despite its increasing success and a less radical tone, a wave of government opinion turned against the Federal Theater Project - and the Special Life Letters in particular - in 1938. Established this year, the American House-Activity Committee (HUAC) initiated an investigation into the FTP, focusing on suspected investigators Communist and anti-American propaganda. Flanagan defended FTP and the Newspaper Live, stating that the program has presented propaganda, yes, but "... propaganda for democracy, propaganda for better housing," not propaganda against the government. Despite his defense of President Roosevelt's program and protest, Congress disbanded the FTP - and with it, the New York Living Newspaper Unit - on July 30, 1939.
The end of the FTP and the Unit left many live Newspaper scripts complete and some were developed unformatted and unfinished. Among these are three by African-American playwrights dealing with issues of race and racism, including Liberty Suspended , by Abram Hill and John Silvera, who follow the history of slavery in the US and discuss the destruction of African-Americans in South. Some historians argue that Congress closed the Federal Theater Project partially to dampen the voices of African-American theater professionals and racist criticism in the US, or that the FTP postponed the production of these dramas for fear of such revenge.
Although no longer a federal-funded initiative, the Living Newspaper project has influenced progressive theater in the 21st century. A good example of a theater company that appears in the Newspaper Live style is the progressive DC Theater Collective, by The Tea Party Project, conducted in Washington DC in July 2010.
Newspapers Live outside New York
Although the New York Living Newspaper Unit produces most of the major Life Letters, other units in towns across the US are manufactured or planned Newspapers Live. In many cases, this production is a local activity of New York Living Newspapers. Both Power and One-Third of a Nation ran across the US, with the script changed to varying degrees to match local conditions. In Seattle, the mayor declares Power Week to respect the long-term Power, recognizing the timeliness of the drama lesson material: With the public Bonneville power plant project on the horizon, private and public power companies compete for get support in the city.
The Non-New-York Unit also researches and writes their own Newspaper. The Southwest Unit, in California, devised and researched the Spanish Grant, in a historical incident in which a series of "speculative land deals" took land from society, and Land Grant, in 1848 cession of California to the United States and the corrupt land deals that led to it. The Washington unit planned Wood ; Iowa Dirt ; and Stars and Bars in Connecticut; however, none of these regional Living newspapers have achieved full production.
On the other hand, Chicago produces original Newspapers that rival New York Living Newspapers in its positive impact and acceptance. In 1938, Arnold Sundgaard's Spirochete, a Living Letters on the history of syphilis, opened in Chicago. Using image projection, wide sound design, shadow play, short scenes, and "little man" characters (here, a patient who manifests all syphilis sufferers throughout history) were standardized by the New York Unit, Maps Living Newspaper
FTP Live Lifestyle
The Living Newspaper is a dramatization of the problem - composed in greater or lesser quantities of many news events, all related to one subject and interacted with the peculiar but non-factual representations of the effects of these news events on people- people who have problems. very important.
Although the definition of Living Newspaper and its purpose, both in the Federal Theater Project and in general, varies, certain characteristics incorporate all production of FTP Live Letters.
First, the contents of the Newspaper Live always center on some recent events or issues that affect the working class of the United States extensively - whether it is the spread of syphilis, slum housing conditions, or looking for affordable power. Research teams, many of whom are unemployed journalists, conduct extensive research to provide a factual basis for every Living Newspaper. The editor then organizes the information and submits it to the authors, who collectively collect the Newspapers Live from collages of facts, statistics, newspaper clippings, and anecdotes. Although Hallie Flanagan repeatedly stated that the Newspapers must be objective and unbiased, most of the Newspaper Live production communicates a clear bias and calls for action from the viewing audience.
Secondly, FTP Live Letters tend to break up from realistic stage conventions that support experimental drama and unrealistic stage design. "Techniques Available to the Creator of the Newspapers," a guide compiled by the Federal Theater Project in 1938, lists many of the elements that characterize the Newspaper. This includes fast scenes and set changes; the flexibility of the stage space, using multiple levels, rolled and hand-picked scenes, and scrims to build multiple locations without complicated assemblies; projection settings, statistics, and film; shadowplay; sound effects and complete music score; use of loudspeaker to tell and comment on the action; and sudden blackouts and stern headlights. This guide also suggests the use of puppetry, modern dance, and pantomime. In terms of dramatic construction, this guide encourages writers and designers to keep the counter concept in mind when building Newspapers - changing between scenes and sounds that contrast viewpoints, to comment on action and keep the audience engaged and conscious.
The Origin of FTP Live Letters
The developers of the Newspaper Live were built on the theater form they encountered in the Bolsheviks of Russia, Germany, and the theater of European workers. Live performances like newspapers appeared in the Russian Bolsheviks in early 1919, using various devices (such as lantern slides, songs, newspaper readings, and film segments) to present news and propaganda to the illiterate. As the form matures in Russia, groups of workers install a highly regionalized Newspaper, treating issues of public concern and concern. Zhivaya Gazeta (the Russian term for "Living Newspaper") peaked from 1923 to 1928; Hallie Flanagan visited the country and watched a worker's performance during this period, in 1926. Blue Blouse theater groups, who employ satire and demanded acrobats to bring the news to the public, in particular captured the attention of Flanagan. The work of Russian theater artist Vsevolod Meyerhold and Vladimir Mayakovsky, who have been active all along, also influenced the form, as did the works of German theater artists Bertolt Brecht and Erwin Piscator.
See also
- Theater of the Persecuted
Note
References
- Cosgrove, Stuart. Introduction. Liberty Deferred and Other Living Newspapers of the 1930s Federal Theater Project. Ed. Lorraine Brown. Fairfax: George Mason UP, 1989. ix-xxv.
- Cosgrove, Stuart. The Living Newspaper: History, Production, and Form. Hull: Hull University, 1982.
- George Mason University & amp; Files. "The Federal Theater Project Poster, Costume, and Collection Collection of Designs." Custom Collections & amp; Archives: George Mason University Library. George Mason University. October 28, 2007 & lt; http://www.aladin.wrlc.org/gsdl/collect/ftpp/ftpp.shtml>.
- Hill, Abram, and John Silvera. Liberty Freedom. Liberty Deferred and Other Living The 1930s Newspaper Ed. Lorraine Brown. Fairfax: George Mason UP, 1989. 249-303.
- Library of Congress. American Memory. August 13, 2007. United States Government. October 28, 2007 & lt; http://memory.loc.gov/ammem/index.html>.
- Nadler, Paul. "Liberty Censored: Black Living Newspapers of the Federal Theater Project." African American Review 29 (1995): 615-622.
- O'Connor, John S. "'Spirochete' and the Syphilis War." The Drama Review 21.1 (1977): 91-98.
- Witham, Barry B. Federal Theater Project: Case Study. Cambridge Studies at American Theater and Drama. Ser. 20. New York: Cambridge UP, 2003.
Further reading
- Arent, Arthur. "'Ethiopia: The First' Living Newspaper. '" Journal of the Education Theater 20.1 (1968): 15-31.
- Cardran, Cheryl Marion. The Living Newspaper: Development and Influence . Charlottesville, Va., 1975. Print.
- The Federal Theater Project. Federal Theater Plays. Ed. Pierre De Rohan. New York: De Capo, 1973.
- The Federal Theater Project. Liberty Deferred and Other Living Newspapers of the 1930s. Ed. Lorraine Brown. Fairfax: George Mason UP, 1989.
- Highsaw, Carol Anne. A Theater of Action: The Living Newspapers of the Federal Theater Project. Princeton: Princeton UP, 1988.
- McDermott, Douglas. The Living Newspaper as a Dramatic Form. Iowa City: State University of Iowa, 1964.
External links
- By the People, For the People: Poster from WPA, 1936-1943 on the Library of Congress website; including posters for Living Newspapers.
- New Deal Phase: Option from the Federal Theater Project, 1935-1939, on the Library of Congress website; containing production materials from Power.
- New Transaction Networks; photo gallery contains pictures from the production of Living Newspaper.
- The George Mason University Federal Project Collection Site Site; contains a poster for Living Newspapers.
- University of Texas on Austin's Living Newspaper Program website; contains contact information and resource guides for creating Newspapers in the Middle Class and High School classrooms.
- University of Virginia Living audiohistory newspaper website; contains an introduction to Living Newspapers, related newspaper headlines, and audio recordings from the sound show of Triple-A Ploughed Under drama, including the game as a whole.
Source of the article : Wikipedia
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