Academic literature on the topic 'Agitprop theater'
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Journal articles on the topic "Agitprop theater"
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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.
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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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Klöck, Anja. "Spielraum, Intervention, Strukturwandel. Bertolt Brechts „kleine, wendige Truppen“ von 1956." Forum Modernes Theater 33, no. 1-2 (2022): 153–65. http://dx.doi.org/10.24053/fmth-2022-0012.
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Die aktuellen Forderungen eines Strukturwandels an den deutschsprachigen Stadt- und Staatstheatern sind von einer Engführung von Ästhetik auf Intervention geprägt: An welchem Knotenpunkt zwischen Ästhetik, Politik, Theaterorganisation, Schauspielpraxis und Schauspielausbildung könnte man einen wirksamen Hebel für Veränderung ansetzen? Wo und wie soll man intervenieren, um die als veraltet oder zementiert empfundenen Strukturen zu verändern? Vor dem Hintergrund dieser gegenwärtigen Fragen untersucht der Beitrag eine Rede von Bertolt Brecht aus dem Jahr 1956. Darin forderte er, an den feststehenden Theatern „kleine, wendige Kampfformen“ nach dem Vorbild der Agitprop-Truppen der Weimarer Republik zu bilden. Der Beitrag setzt das performativ entgrenzende Potential der Rede ins Verhältnis zur Theaterarbeit am Berliner Ensemble. Brecht greift ganz gezielt in den sich verengenden Spielraum der Theater der jungen DDR ein und entwickelt dabei ein Praxismodell, das die vormals oppositionelle Position der Agitprop-Akteur*innen dialektisch wendet.
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Dominguez, Ricardo. "Electronic Civil Disobedience: Inventing the Future of Online Agitprop Theater." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1806–12. http://dx.doi.org/10.1632/pmla.2009.124.5.1806.
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We see that a certain revolutionary type is not possible, but at the same time we comprehend that another revolutionary type becomes possible, not through a certain form of class struggle, but rather through a molecular revolution, which not only sets in motion social classes and individuals, but also a machinic and semiotic revolution.—Félix Guattari (qtd. in Raunig)We follow the speed of dreams.—Subcomandante Insurgente Marcos, The Speed of Dreams (2007)Critical art ensemble staged the theory of electronic civil disobedience (ECD) as a gamble against a form of the all-too-present future of “dead capital,” otherwise known as late capital. In our 1994 book The Electronic Disturbance, Critical Art Ensemble argued that dead capital was being constituted as an electronic commodity form in constant flow (11). Capital had been, was, and would continue to be reensembling itself, as the contemporary elite moved from centralized urban areas to decentralized and deterritorialized cyberspace (13). For Critical Art Ensemble, it was clear that cyberspace, as it was called then, was the next stage of struggle. The activist reply to this change was to teleport the system of trespass and blockage that was historically anchored to civil disobedience to this new phase of economic flows in the age of networks: “As in civil disobedience, primary tactics in electronic civil disobedience are trespass and blockage. Exits, entrances, conduits, and other key spaces must be occupied by the contestational force in order to bring pressure on legitimized institutions engaged in unethical or criminal actions” (Critical Art Ensemble, Electronic Civil Disobedience 18). As we imagined it in the early 1990s, electronic disturbance was the core gesture that could initiate a new “performative matrix” (Electronic Disturbance 57).
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Mally, Lynn. "The Americanization of the Soviet Living Newspaper." Carl Beck Papers in Russian and East European Studies, no. 1903 (January 1, 2008): 44. http://dx.doi.org/10.5195/cbp.2008.140.
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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.
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Wikler, R. J. "Popular Army, Popular Theater: Spanish Agitprop during the Civil War, 1936-1939." Theater 31, no. 1 (2001): 79–91. http://dx.doi.org/10.1215/01610775-31-1-79.
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Powers, Holiday. "Those Who Will Join Us." Nka: Journal of Contemporary African Art 2023, no. 53 (2023): 88–98. http://dx.doi.org/10.1215/10757163-10904104.
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“Those Who Will Join Us” reviews Bouchra Khalili’s multimedia installation The Circle (2023) in the context of Sharjah Biennial 15. The Circle was commissioned by Sharjah Art Foundation and won one of the biennial prizes, and suggests larger questions about what it means to be in the world, how we might remake the world, and what the role of art could be within this. The installation, which includes archival images and small televisions around a large two-channel video projection, is an investigation of the Movement of Arab Workers (MTA) and its theater groups, Al Assifa and Al Halaka. These agitprop t heater groups, formed by North African migrant workers and students like the rest of the MT A, were active in Paris and the south of France between 1973 and 1978. Khalili’s work particularly focuses on the 1974 presidential run of D jellali Kamal, a pseudonym for an anonymous Al Assifa member whose candidacy was seen as an extended public performance meant to reveal the ways in which migrants were denied civil rights.
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Pieper, Judith Henrike. "Kollektive Entscheidungsprozesse in der Probenpraxis intervenierender Chöre." Paragrana 32, no. 2 (2023): 103–23. http://dx.doi.org/10.1515/para-2023-0030.
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Abstract Philippe Urfalino sieht bei kollektiven Entscheidungen eine Verbindung zur Dramentheorie: Obwohl sie oft die Regeln der drei Einheiten befolgten, die in der französischen Tragödie im 17. Jahrhundert zu Normen geschmiedet worden seien – Einheit von Zeit, Ort und Handlung In pandemischen und generell digitalen Zeiten könnte debattiert werden, ob die Einheit des Ortes weiterhin gilt – viele Entscheidungen werden in online-Sitzungen getroffen, wo alle im einheitlichen digitalen Raum zusammentreffen, dabei aber gleichzeitig an vielen heterogenen Orten sind. – sei ihr Ablauf doch komplex genug, um undurchsichtig zu bleiben, selbst für die Beteiligten (Urfalino 2021, S. 193). Der Frage, wie Theaterkollektive Entscheidungen fällen und was diese mit Interventionen zu tun haben, nähert sich dieser Artikel anhand zweier Beispiele, um diese transparenter zu machen. Wie haben sich kollektive Entscheidungsprozesse auf die Entstehung der Protestoper Wem gehört Lauratibor? und Chöre der Angekommenen ausgewirkt? Dafür sollen drei Kollektive des Gegenwartstheaters beleuchtet werden, die intervenierende ortsspezifische Theaterdemonstrationen schaffen und verschiedene historische Bezüge aufweisen: zum einen zum Agitprop So erinnert auch das erste Foto der Performancegruppe Schwabinggrad Ballett mit den elektronischen Megaphonen in Margarita Tsomous Artikel „Jenseits des Willkommens“ (Foto: Rasande Tysker) stark an das Filmstill aus Kuhle Wampe (1930), welches die Agitproptruppe „Rotes Sprachrohr“ mit ihren klassischen Flüstertüten zeigt in Konstanze Schmitts Essay „Staying with the trouble. Collective forms and methods in performing arts in the 1920s and today“ (vgl. Tsomou 2016, S. 23 und Schmitt 2023, S. 80). und Arbeitertheater Im Falle von Wem gehört Lauratibor? der 1920er und 1930er Jahre, zum politischen Straßentheater der 1960er und 1970er Jahre als auch zu den neuen sozialen Bewegungen um 1968. Dabei handelt es sich um das Schwabinggrad Ballett mit ARRiVATi und das Lauratiborkollektiv. Es wird auf Urfalino 2021 Titel im Dt. Gemeinsam entscheiden: Die Herstellung der kollektiven Verpflichtung (Übers. JP, wie auch alle nachfolgenden Zitate aus dem Französischen). und gegenwärtige Tendenzen im Theater eingegangen.
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Warstat, Matthias. "Activist theatre and the agitprop legacy*." Peripeti 20, no. 38 (2023): 66–75. http://dx.doi.org/10.7146/peri.v20i38.136784.
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Political theatre today seems to be dominated once again by activist approaches that want to have a direct impact on political conflicts with a clear agenda. When it comes to interpreting this new liaison of theatre and activism, it seems nearly unavoidable to look back at the historical avant-gardes around 1930. With the contemporary situation as a starting point, this article analyses the agitprop tradition focusing on the German example. It discusses to what extent one can speak of an agitprop legacy in Germany despite the dissolution of the agitprop groups under the Nazi regime; when and in what this legacy becomes recognisable and how today’s activist theatre groups refer to the models, problems and crises of the historical agitprop troupes.
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Filewod, Alan. "EDITORIAL." Canadian Theatre Review 99 (June 1999): 3–4. http://dx.doi.org/10.3138/ctr.99.fm.
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The partnership of theatre and labour evokes images of heroic proletarian actors and workers joined in solidarity, staging agitprop at picket lines. This is an image that comes to us through many scenes, from the Blue Blouses of the Bolshevik revolution, from Piscator in the dying days of the Weimar republic, from the agitprop troupes of the 1930s. It is an image of the young George Luscombe performing on a truck to striking workers in the 1940s, of Teatro Campesino in the fields of California, of the Mummers Troupe in mining towns in Newfoundland. But while it, is heavily imbued with romantic nostalgia, it does not reflect the reality of most labour-engaged theatre work.
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Watt, David. "“Excellence / Access” and “Nation / Community”." Canadian Theatre Review 74 (March 1993): 7–11. http://dx.doi.org/10.3138/ctr.74.002.
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Like the work produced within the ambit of the Canadian Popular Theatre Alliance, Australian community theatre had its origins in the radical theatre of the 1960s and 1970s. The two most productive and influential groupings were those formed within and around the Australian Performing Group (APG) in Melbourne, formed in the late 1960s, and the Popular Theatre Troupe (PTT) in Brisbane, formed in the early 1970s. The initial nucleus of the APG was a group of activists from the most radical of the university campuses, Monash University, which, through avid reading of The Drama Review, threw together an odd, and not always happy, amalgam of US agitprop, Grotowski, and a concern with popular performance styles, to produce a broadly left-wing theatre which veered between the populist and the avant-garde. The Popular Theatre Troupe drew much of its original inspiration from the work of British director and animateur Albert Hunt, who was invited to Brisbane and assisted in establishing the venture. Hunt’s work gave the early ventures of the PTT a style built around large scale outdoor events of a participatory nature, although the company eventually moved towards a small nucleus performing touring agitprop shows. In the case of both companies, their legacies lie at least as much in the energy they generated around their edges as in the shows they produced: alumni of both were important in establishing many of the community theatre companies which began to appear towards the end of the 1970s.
Dissertations / Theses on the topic "Agitprop theater"
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Lee, Diana Sution. "O sonho americano em Pins and Needles." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-02022018-093129/.
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Esta dissertação tem como objetivo a análise do sonho americano em Pins and Needles. Criada na cidade de Nova Iorque em 1937 por dramaturgos ligados ao teatro de esquerda, a peça espalhou-se pelos Estados Unidos, angariou trabalhadores para os sindicatos, influenciou grupos amadores de teatro, parodiou shows populares e satirizou eventos da Grande Depressão, mostrando um humor incomparável. Nos quesitos histórico e cultural, a peça mais popular da década de 1930 é única, por ser representante do apogeu do Movimento Teatral dos Trabalhadores Americanos e da Frente Popular durante o Novo Acordo. Através do que denominamos de os quatro eixos ideológicos do sonho americano, estudamos como o texto dramatúrgico de Pins and Needles, na sua mistura de agitprop e revista musical, questiona se haveria de fato para os trabalhadores igualdade de oportunidades, direito à vida, liberdade e busca da felicidade, (possibilidade de) atuação e mobilidade social como recompensa do trabalho árduo, ajudando-nos a reconceptualizar a ideologia da nação norte-americana.<br>This dissertation aims at analyzing the American dream in Pins and Needles. Originated in the city of New York in 1937 by playwrights connected to the theater of the left, the play spread throughout the United States, attracted workers to the labor unions, influenced amateur theater groups, parodied popular shows and satirized Great Depression events, by using an incomparable humor. In the historical and cultural requisites, the most popular play in the 1930s is unique, by being the representative of the apogee of the American Workers Theater Movement and of the Popular Front during the New Deal. By observing what we call the four ideological axes of the American dream, we study how the dramaturgical text of Pins and Needles, in its blend of agitprop and musical revue, questions if really there were equality of opportunities, right to Life, Liberty, and the pursuit of Happiness, agency and social mobility as a result of hard work to the workers, helping us to reconceptualize the ideology of the American nation.
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Vigue, Chanelle Renee. "Entertainment News: Agitprop to Colbertisms." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/670.
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At the beginning of the twentieth century, newspaper theatre was born from the need to inform those who could not read the news for themselves. There have been many contributors and influential factors to the multi-faceted evolution of newspaper theatre. Contributors include Meyerhold, Piscator, Brecht, Hallie Flanagan and Arthur Arent, and Augusto Boal. Influential factors include technology, politics, and the influence of theatrical movements. The most popular and most frequent contributors to contemporary newspaper theatre are the legitimate news media and comedy news shows.
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Rukuni, Samuel. "Theatre-for-development in Zimbabwe : the Ziya Theatre Company production of Sunrise." Diss., University of Pretoria, 2012. http://hdl.handle.net/2263/27465.
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This dissertation for the M.A. in Creative Writing consists of a full-length play, titled Last Laugh and a mini-dissertation. The mini-dissertation explores the phenomenon of Theatre-for-Development, which differs significantly from the performance tradition of classical African drama. The study identifies ways in which Theatre-for-Development practitioners, animators or catalysts, (interchangeable names given to agents who teach target community members theatre-for-development skills) abandon the conventions of classical African drama performances, in terms of the form of plays, stage management and costumes. They find different and less formal ways to tackle the social problems which the target communities experience. The origins of Classical African drama are traced from the western tradition, from which it borrows heavily, and there is some discussion of the socio-historical conditions that prevailed during the time when African playwrights performed those plays, and the rise of nationalism in colonised African states, which in part influenced their production. This study then examines how the socio-political dynamics in the Zimbabwean post-farm-invasions era gave rise to Theatre-for-Development projects in the newly resettled farming communities that faced social development challenges. Despite the land gains peasants enjoyed, the resettled communities found themselves in places far away from schools, hospitals, shops and social service centres. That was the source of their problems. It will be shown how government sponsored Theatre-for-Development groups to mobilise the people, through theatre, to initiate home-groomed solutions to their social and economic problems during a time when the government was bankrupt and the country’s economy was shattered by the destruction of the agricultural and mining sectors, triggered by the invasions of the white commercial farms. The Ziya Community Theatre’s production of Sunrise is analysed in the light of these considerations.<br>Dissertation (MA)--University of Pretoria, 2012.<br>English<br>unrestricted
Books on the topic "Agitprop theater"
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Doll, Jürgen. Theater im Roten Wien: Vom sozialdemokratischen Agitprop zum dialektischen Theater Jura Soyfers. Böhlau, 1997.
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Hornauer, Uwe. Laienspiel und Massenchor: Das Arbeitertheater der Kultursozialisten in der Weimarer Republik. Prometh, 1985.
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Beltz, Matthias. Am besten bös: Das Vorläufige Frankfurter Fronttheater. Eichborn, 1988.
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Rahner, Christiane. Chicano-Theater zwischen Agitprop und Broadway: Die Entwicklung des Teatro Campesino (1965-1985). G. Narr, 1991.
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1929-, Brown Lorraine, and Federal Theatre Project (U.S.), eds. Liberty deferred and other living newspapers of the 1930s Federal Theatre Project. George Mason University Press, 1989.
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Bibikova, I. M. Agitmassovoe iskusstvo Sovetskoĭ Rossii: Materialy i dokumenty : agitpoezda i agitparokhody, peredvizhnoĭ teatr, politicheskiĭ plakat, 1918-1932. Izd. Dom "Iskusstvo", 2002.
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Teatro da militância: A intenção do popular no engajamento político. Editora Perspectiva, 1990.
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"Yang ban xi" bian nian yu shi shi: A chronicle of model opera of Chinese Cultural Revolution. Zhong yang bian yi chu ban she, 2012.
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Volksabstimmung auf der Bühne?: Das Massentheater als Mittel politischer Agitation. P. Lang, 1985.
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Agitmassovoe iskusstvo Sovetskoĭ Rossii: Materialy i dokumenty. Agitpoezda i agitparokhody. Peredvizhnoĭ teatr. Politicheskiĭ plakat. 1918-1932 v 2 t. Iskusstvo, 2002.
Find full textBook chapters on the topic "Agitprop theater"
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Costa, Iná Camargo. "Agitprop and Theatre of the Oppressed." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-5.
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Hillman, Rebecca. "Preface." In After the Miners’ Strike. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0329.01.
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The Preface reflects on Paul Farmer’s book as a bold and timely intervention on political working-class theatre. It places A39’s practice in the context of historical events and theatrical practice, but also in relation to a rich seam of academic enquiry on agitprop theatre, often assumed redundant beyond the end of the 1970s. It invites readers to consider the book as a provocative political analysis, and corrective to that understanding of history. It proposes the significance of returning to this territory at a time of increased class-conscious and materialist critiques from contemporary artists and theatre makers. This is especially in view of the political agency of A39’s approach; moments of which are highlighted here.
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Wickhamsmith, Simon. "Staging a Revolution." In Politics and Literature in Mongolia (1921-1948). Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462984752_ch02.
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Since the vast majority of Mongolia’s population was illiterate, its revolution was initially acted out upon the stage. Amateur actors and revolutionary youth groups came together – the former portraying the ideological material promoted by the latter – in an attempt to develop a new understanding of, and approach to, theatrical performance. In this way, small theater groups spread across the country, performing ideological education to show, through satire and through historical and social drama, the misery and inequality of pre-revolutionary Mongolia and the benefits the revolution had brought. The influence of Soviet agitprop led to more innovative, amateur productions, while the opening of a national theater in the late 1920s and the arrival of directors – and later actors – from the Soviet Union brought credibility to the theatrical arts and led to professionalized roles for actors, set designers, painters, singers and musicians.
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Coghlan, J. Michelle. "Restaging Horror: Insurgent Memories of the Commune in the 1930s." In Sensational Internationalism. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411202.003.0006.
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This concluding chapter turns from James’s multivalent spatial memory to a series of radical texts that unearth precisely that “other” Paris for the Popular Front by exploring Guy Endore’s 1933 bestseller, The Werewolf of Paris, a novel whose unlikely return to the Commune interrupts both its ostensible horror plot and its initial setting in 1920s Expat Paris. Reading Endore’s retelling of the Commune alongside both contemporary worker theater productions and agitprop that drew on the conventions of pulp fiction to reclaim 1871 for the American Left, I recover the way that radical pulp and radical theater in this period used the medium of horror to radically transform historical fiction and conventional histories of the Commune. Redeploying the sensational tropes so often mobilized in mainstream American narratives of the Commune so as to restage the horror of the Commune as its suppression rather than its existence, these texts escape the cul-de-sac of trauma by espousing what I term an “insurgent” rather than simply melancholic fixity on the past, refashioning the space of the Commune in Marxist thought and U.S. memory.
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Arthur, Asa Berger. "The Iran-Contra Hearings: A Case-Study in Political Theatre." In Agitpop. Routledge, 2017. http://dx.doi.org/10.4324/9781315082783-3.
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Caute, David. "Broadway Dead, Says Soviet Critic." In The Dancer Defects. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199249084.003.0004.
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Abstract Aleksandr Herzen compared the theatre to the parliament which Romanov Russia did not have; a century later the Soviet theatre critic Anatoly Smeliansky added a further reflection:’In Soviet Russia the theatre took the place of both the sham parliament and the half-strangled Church.’ The theatre, although less accessible to the rural population than the printed word, was regarded as a vital messenger of ideological imperatives, but by 1945 the Punch-and-Judy tradition of the itinerant agitprop troupe, perhaps perched on a railway wagon, improvisatory, expressionist, and witty, had succumbed to the gilded grandeur of chandelier classicism-the theatre was now a place where you must leave your coat in the cloakroom before entering the auditorium.