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Regional theatre: The revolutionary stage
Regional Theatre was first published in 1973. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
This is a social history of a recent American cultural phenomenonâ the development since World War II of numerous nonprofit regional theatres which, as a group, have changed the complexion of the American theatre. It is the story of a revolution, now over, and a call for a new purpose to follow it. After a discussion of the background against which the regional theatre movement began, the author traces the histories of individual theatre companies. And yet the book is less about actors, directors, and productions than it is about the struggle to create and sustain new cultural forms, and the tension between regional and central phenomena.
Mr. Zeigler sees several related institutionalism â theatre as a continuing creative organism; decentralizationâ the bringing of theatre to all areas of the country; and the development of a National Theatre to serve the entire country. A significant element in the book consists of examination of some of the important funding programs which have aided the development of regional theatres.
This is a social history of a recent American cultural phenomenonâ the development since World War II of numerous nonprofit regional theatres which, as a group, have changed the complexion of the American theatre. It is the story of a revolution, now over, and a call for a new purpose to follow it. After a discussion of the background against which the regional theatre movement began, the author traces the histories of individual theatre companies. And yet the book is less about actors, directors, and productions than it is about the struggle to create and sustain new cultural forms, and the tension between regional and central phenomena.
Mr. Zeigler sees several related institutionalism â theatre as a continuing creative organism; decentralizationâ the bringing of theatre to all areas of the country; and the development of a National Theatre to serve the entire country. A significant element in the book consists of examination of some of the important funding programs which have aided the development of regional theatres.
- GenresTheatre
298 pages, Hardcover
First published January 1, 1973
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December 29, 2014
I first read this remarkable book on the "Regional Theatre Movement" (which took place from the 1940s through the late 1960s) while in the graduate program at Boston University's School of Theatre, where I had the incredible good fortune to work with 2 of America's most gifted professional theatre directors: Alan Schneider and Zelda Fichandler. I highly recommend this book for anyone pursuing a career in the nonprofit professional theatre!
Both Alan and Zelda are often quoted in the book, probably because Zeigler worked with them at Arena Stage in Washington, DC, during the Movement's formative years. Both of these visionary directors were among the Movement leaders who were reacting to their belief that the Broadway system was not necessarily the best way to create great theater. "Some of us looked about and saw that something was amiss. What was essentially a collective and cumulative art form was represented in the United States by the hit-or-miss, make-a-pudding, smash-a-pudding system of Broadway production." (Zelda Fichandler)
The Movement's leaders are described as being young, middle class, and without resources. To achieve success, they first had to overcome barriers. Zeigler described the humble beginnings of the movement's leaders and their theatres: "Zelda Fichandler (Arena Stage, Washington, DC) in a beer factory, Michael Murray (Charles Playhouse, Boston) above a fish market, or Jules Irving and Herbert Blau (the Actor's Workshop, San Francisco) behind a judo academy."
Some found their respective cities neither supportive nor welcoming. "We forged a better way, we scratched it out, hacked it, ripped it, tore it, yanked it, clawed it out of the resisting, unyielding, nose-thumbing environment . . . We taught ourselves how to survive." (Zelda Fichandler)
Both Alan and Zelda are often quoted in the book, probably because Zeigler worked with them at Arena Stage in Washington, DC, during the Movement's formative years. Both of these visionary directors were among the Movement leaders who were reacting to their belief that the Broadway system was not necessarily the best way to create great theater. "Some of us looked about and saw that something was amiss. What was essentially a collective and cumulative art form was represented in the United States by the hit-or-miss, make-a-pudding, smash-a-pudding system of Broadway production." (Zelda Fichandler)
The Movement's leaders are described as being young, middle class, and without resources. To achieve success, they first had to overcome barriers. Zeigler described the humble beginnings of the movement's leaders and their theatres: "Zelda Fichandler (Arena Stage, Washington, DC) in a beer factory, Michael Murray (Charles Playhouse, Boston) above a fish market, or Jules Irving and Herbert Blau (the Actor's Workshop, San Francisco) behind a judo academy."
Some found their respective cities neither supportive nor welcoming. "We forged a better way, we scratched it out, hacked it, ripped it, tore it, yanked it, clawed it out of the resisting, unyielding, nose-thumbing environment . . . We taught ourselves how to survive." (Zelda Fichandler)
Displaying 1 of 1 review