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Journal articles on the topic 'New York Living Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (November 2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vision of the theatre that he shared with Bentley and Brustein. Collectively, these three critics championed the European modern dramatists, like Pirandello, Brecht, Beckett, and Genet, whose plays were rarely if ever performed on Broadway. They also embraced the early work of performance groups such as Julian Beck and Judith Malina's Living Theater when they were either ignored or deplored by most mainstream reviewers. Above all, they challenged the time-honoured idea that the primary goal of the theatre is to provide the audience with an emotional catharsis achieved by realistically identifying with the dramatic protagonist. By contrast, Bentley, Brustein, and Kauffmann championed a theatre that emphasized poetic stylization, intellectual seriousness, and social engagement. The discussion which follows, held on 27 October 2007 at the Philoctetes Center, New York, examines the legacy of these leading American theatre critics of the past fifty years. Bert Cardullo, who transcribed and edited the discussion, was Stanley Kauffmann's student at the Yale School of Drama and is the author, editor, or translator of many books, among them Theater of the Avant-Garde, 1889–1950, What Is Dramaturgy?, and American Drama/Critics: Writings and Readings.

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2

Olsen, Christopher. "Off-Off-Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater. By David A. Crespy. New York: Back Stage Books, 2003; pp. 192; 32 illus. $19.95 paper." Theatre Survey 46, no. 2 (October 25, 2005): 349–51. http://dx.doi.org/10.1017/s004055740539020x.

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David Crespy's account of Off-Off Broadway's roots in New York City is a welcome addition to a growing body of scholarship on this vibrant period in American theatre history. Many authors writing on this era have limited themselves to focusing on particular theatre groups, such as the Living Theatre, Café Cino, and the Open Theatre, or on the work of specific playwrights, such as Maria Irene Fornés, Sam Shepard, and Edward Albee. More historical accounts are needed to examine a cross section of theatre practitioners in the context of the political and artistic movements of the 1960s. Crespy has managed to do this to some degree, and has even convinced the elusive Edward Albee to write a foreword.

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3

Gildin, Marsha, Rose Binder, Irving Chipkin, Vera Fogelman, Billie Goldstein, and Albert Lippel. "Learning by Heart: Intergenerational Theater Arts." Harvard Educational Review 83, no. 1 (March 26, 2013): 150–52. http://dx.doi.org/10.17763/haer.83.1.r16186gr82t78471.

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We are a lucky group of older adults, ranging in age from sixty to ninety-two, who participate in an intergenerational arts program at our local senior center in Flushing, Queens, one of New York City's most culturally diverse communities. In our living history theater program, run by Elders Share the Arts (ESTA) and facilitated by ESTA teaching artist Marsha Gildin, we are joined weekly by fifth graders from PS 24, a public elementary school located around the corner. Some of our senior members joined just last year, while others have been involved for more than a decade. Our relationship with the children is very special and mutually nourishing. ESTA guides us in sessions based on sharing stories from life experience and in transforming memories into art. We explore our ideas through theater exercises and devise an original piece rooted in what we have learned from one another. Rehearsals are an ensemble learning process. With forty-five people on stage during our performances at the senior center and school, the performance experience is always challenging, surprising, and well received. We connect strongly with the children during the program year, and our goodbyes are tinged with sadness, for we have grown close in our shared art making. This year our theme focused on the power of music in our lives.

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4

Adams, Corey, R. Scott McClure, Aashish Goela, Daniel Bainbridge, William J. Kostuk, and Bob Kiaii. "Simultaneous Robotic-Assisted Mitral Valve Repair and Percutaneous Coronary Intervention." Innovations: Technology and Techniques in Cardiothoracic and Vascular Surgery 5, no. 5 (September 2010): 375–77. http://dx.doi.org/10.1097/imi.0b013e3181f8f89d.

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We present a case report of a robotic-assisted mitral valve repair with simultaneous percutaneous coronary intervention. A 58-year-old man presented with New York Heart Association class III symptoms from severe mitral regurgitation and significant stenosis of the right coronary artery. In a hybrid operating theater, the patient underwent placement of a bare metal stent in the right coronary artery followed immediately by robotic-assisted mitral valve repair. Both procedures were successful and occurred in a timely fashion. The patient experienced no immediate postoperative complications and was discharged home on postoperative day 5. At 2-week follow-up, he had returned to his normal activities of daily living and at 1 year remained asymptomatic. This case report demonstrates the benefits of minimally invasive robotic mitral valve repair in allowing for successful repair, early postoperative return to activity, minimal incision pain, and high patient satisfaction. It further highlights the potential benefit of a hybrid operating theater in allowing surgical and percutaneous coronary intervention procedures to be delivered in a safe and efficient manner.

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5

Savran, David. "The Theater of Tony Kushner: Living Past Hope. By James Fisher. New York: Routledge, 2001; pp. 274 + illus. $85 hardcover." Theatre Survey 44, no. 01 (May 2003): 111–13. http://dx.doi.org/10.1017/s0040557403210073.

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6

Shepard, Benjamin. "Urban Spaces as Living Theater: Toward a Public Space Party for Play, Poetry, and Naked Bike Rides (New York City, 2010-2015)." Revue Française d Etudes Américaines 146, no. 1 (2016): 107. http://dx.doi.org/10.3917/rfea.146.0107.

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7

CROW, BRIAN. "James FisherThe Theater of Tony Kushner: Living Past Hope New York; London: Routledge, 2001. 288 p. $19.95. ISBN 0-415-94271-3." New Theatre Quarterly 20, no. 2 (April 21, 2004): 199. http://dx.doi.org/10.1017/s0266464x04300096.

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8

Rosenthal, Cindy. "Circling Up with The Assembly: A Theatre Collective Comes of Age." TDR/The Drama Review 60, no. 3 (September 2016): 64–95. http://dx.doi.org/10.1162/dram_a_00571.

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The Assembly is alive and well and living in New York (since 2008), creating group-devised theatre that interrogates The Weather Underground’s activism (HOME/SICK); economic and racial inequalities in the 21st century (That Poor Dream); and aging, art, and self-expression in America (I Will Look Forward To This Later). This young company of directors, designers, dramaturgs, writers, and performers celebrates the legacies of their avantgarde forebears by collectively making visually, aurally, and physically inventive political art that strives to build community.

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9

Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (August 10, 2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.

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10

Kott, Jan. "The Two Hells of Doctor Faustus: a Theatrical Polyphony." New Theatre Quarterly 1, no. 1 (February 1985): 7–18. http://dx.doi.org/10.1017/s0266464x0000138x.

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The first article in the first issue of the original TQ was a piece by Jan Knott, utilizing the concept of the absurd as a means of understanding Greek tragedy. Recently, his essays, of which many first appeared in TQ, have been published in a new collection, The Theatre of Essence, from Northwestern University Press. Kott's idiosyncratic approach to the interpretation of theatre texts continues to distinguish him as one of those rare literary critics whose insights illuminate the play in production – the reflection in the Brook–Scofield King Lear of his Beckettian interpretation in the seminal Shakespeare Our Contemporary being just the most famous instance. Now Jan Kott, who teaches at the State University of New York, Stony Brook, turns to the world of Shakespeare's own contemporary, Christopher Marlowe, and examines Doctor Faustus as the meeting-place of many kinds of Elizabethan and pre-Elizabethan theatre, contributing to an understanding of the play that is rooted not in a dead theology but in a living theatricality.

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11

FARRINGTON, HOLLY. "“I Improvised behind Him…Ahead of Time”: Charles Mingus, Kenneth Patchen and Jazz/Poetry Fusion Art." Journal of American Studies 41, no. 2 (July 5, 2007): 365–74. http://dx.doi.org/10.1017/s0021875807003519.

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In the last two weeks of March 1959, the jazz bassist Charlie Mingus and the beat poet Kenneth Patchen performed on stage together at the Living Theatre in New York City. Mingus and his band improvised to jazz themes at the back, while Patchen read simultaneously from his poetry at the front. This article examines in detail both Patchen's and Mingus's work with jazz/poetry fusion art and positions these collaborations within the context of the wider movement. It explores the artistic relationship between Mingus and Patchen and examines and contextualizes these performances within the jazz aesthetic.

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12

Labeija, Kia. "Rebirth." TDR/The Drama Review 60, no. 4 (December 2016): 2–3. http://dx.doi.org/10.1162/dram_a_00589.

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Kia Labeija was born and raised in the heart of New York City’s theatre district, Hellz Kitchen. Her multidisciplinary practice explores the intersections of community, politics, fine arts, and activism. Her digital portraits offer theatrical and cinematic re-imaginings of nonfictional events. As a member of the iconic House of Labeija and an active member of NYC’s ballroom scene, she offers the art of Voguing as both a performance and community-based practice. Labeija speaks publicly on the subject of HIV/AIDS as an advocate for the underrepresented living with HIV, including long-term survivors, women, minorities, and children born with the virus.

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13

Hassan, Salah M. "Ahmed Morsi." Nka Journal of Contemporary African Art 2020, no. 47 (November 1, 2020): 22–43. http://dx.doi.org/10.1215/10757163-8719616.

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Born in Alexandria, Egypt, in 1930, Ahmed Morsi is a multitalented artist who seamlessly moves between different genres and modes of creative expression. A brilliant painter, an eloquent poet, and a sharp art and literary critic whose career has spanned more than seven decades, his work has been enriched by the experience of living in three continents. While Morsi’s oeuvre is the embodiment of polyphony, a unifying force that defies any singular reading is the surrealist spirit that permeates his work across different mediums. The retrospective Ahmed Morsi: A Dialogic Imagination, held at the Sharjah Art Museum in 2017, captured the artist’s restless artistic spirit with a display of the intertextuality and multiplicity of voices through which Morsi expresses his creative talent and endless experimentation. This article references the Sharjah show and offers a survey of Morsi’s career, accompanied by a select number of images of his oeuvre from his early days in his native Alexandria to his sojourns in Baghdad and Cairo, and his current practice in New York City, where he has been living since 1974. It also offers a glimpse, in image and in text, of his diverse corpus of literary works, theater set designs, book covers, as well as rare photographs. In tandem with the Sharjah exhibition and the soon-to-be-published catalogue, the author offers a historical assessment and critical appraisal of Morsi’s accomplishments that will enable readers to appreciate the artist’s remarkable endeavors and experimentations over more than six decades of commitment to creativity in art and literature.

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14

Mason, Jeffrey D. "American Theatre in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. By Bruce A. McConachie. Studies in Theatre History & Culture. Iowa City: University of Iowa Press, 2003; pp. xiv + 347; 15 illus. $49.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 341–43. http://dx.doi.org/10.1017/s0040557405360200.

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From 1947 to 1962, Broadway audiences enjoyed major works by Tennessee Williams and Arthur Miller as well as plays ranging from A Thousand Clowns to Who's Afraid of Virginia Woolf? and a string of durable musical comedies offering light and dark visions of the urban streets (Guys and Dolls and West Side Story), inspirational fables (The Music Man and The Sound of Music), and war in legend and in recent memory (Camelot and South Pacific). Meanwhile, Judith Malina and Julian Beck founded the Living Theatre, José Quintero and Theodore Mann established the Circle in the Square, Joe Papp offered his first free Shakespeare productions in New York City parks, and Joe Cino and Ellen Stewart led the development of Off-Off Broadway. This heterogeneous theatre scene comprised diverse and even competing representations of a complex but interconnected culture, and Bruce A. McConachie has undertaken the task of elucidating the workings of such art not in isolation but as cultural and social production.

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15

Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (November 2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continents. On the art-history front, I've gazed at more paintings and sculptings than I can readily organize in memory. But my strongest meetings with “history” have been at the cusp of the past and present—living events always already changing as they are (re)performed. This has been the core of my “anthropology-meets-theatre” work whether among the Yaquis of Arizona, at the Ramlila of Ramnagar in India, in the highlands of Papua–New Guinea, at Off-Off Broadway in New York, in the interior of China, and at very many other events in a wide variety of places.

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16

Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (November 1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calcutta, with the actress Joya Sen. The following account of the second production, in Bombay, illuminates both the varieties of Indian urban life and the varieties of theatrical experience, with fascinating insights into the nature of Bombay's competitive, media-saturated society, and the perceptions of the actress Sulabha Deshpande concerning her role and its technical requirements – and how both shed new light on this play and on the nature of theatricality.

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17

Anderson, Michael. "Living Greek Theatre: A Handbook of Classical Performance and Modern Production. By J. Michael Walton. New York, Westport & London: Greenwood Press, 1987. Pp. ix + 436." Theatre Research International 14, no. 2 (1989): 186–89. http://dx.doi.org/10.1017/s0307883300006167.

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18

Garrett, Shawn-Marie. "The Kafka Theater of New York." Germanic Review: Literature, Culture, Theory 78, no. 3 (January 2003): 250–60. http://dx.doi.org/10.1080/00168890309597475.

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19

Solomon, A. "A New York (Theater) Diary, 1992." Theater 24, no. 1 (December 1, 1993): 7–18. http://dx.doi.org/10.1215/01610775-24-1-7.

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20

Shteir, R. "Notes on New York Theater Criticism." Theater 35, no. 3 (January 1, 2005): 74–85. http://dx.doi.org/10.1215/01610775-35-3-74.

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21

Kalb, Jonathan. "THEATER IN NEW York: The Critical Beckett." Theater 16, no. 3 (1985): 81–84. http://dx.doi.org/10.1215/01610775-16-3-81.

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22

Kalb, Jonathan. "THEATER IN NEW York: An American Quartet." Theater 17, no. 2 (1986): 65–66. http://dx.doi.org/10.1215/01610775-17-2-65.

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23

Polin, Claire. "Conversations in Leningrad, 1988." Tempo, no. 168 (March 1989): 15–20. http://dx.doi.org/10.1017/s004029820002489x.

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Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.

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24

Dimmick, Kathleen. "THEATER IN NEW York: Who's Afraid of L.S.D.?" Theater 16, no. 2 (1985): 92–96. http://dx.doi.org/10.1215/01610775-16-2-92.

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25

Coleman, C. B. "THEATER IN NEW York: Pound's ELEKTRA AT CSC." Theater 19, no. 3 (1988): 83–86. http://dx.doi.org/10.1215/01610775-19-3-83.

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26

Jiang, Hao, and Si Jia Jiang. "Zoning and the Special Theater District in New York." Applied Mechanics and Materials 174-177 (May 2012): 2472–80. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2472.

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This paper evaluates the effectiveness of New York City’s attempts to promote its theater industry through zoning tools, which sheds light on balancing historic preservation and sustainable development. Using the original zoning resolutions and secondary data, this paper will analyze the changing problems, solutions, costs and benefits of setting up a Special Theater (Sub)District in order to protect a socially-desirable use and to recapture the value of private development at the same time. It will conclude that landmarking the theaters to be preserved provided them with legal protection and substantial funds created by the transfers of development rights (TDRs), while controls on Floor Area Ratio (FAR), usage and contextual requirements effectively shaped the area’s three dimensional form; the Special Theater Subdistrict has been highly successful.

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27

Lappin, Louis. "Theater in New York: Chekhov and the American Imagination." Theater 18, no. 1 (1986): 97–99. http://dx.doi.org/10.1215/01610775-18-1-97.

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28

Robinson, M. "THEATER IN NEW YORK: LEAD ME NOT INTO TEMPTATION." Theater 21, no. 1 and 2 (March 1, 1990): 102–6. http://dx.doi.org/10.1215/01610775-21-1_and_2-102.

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29

Venning, Dan. "We're Gonna Die: Second Stage Theater, New York, NY." PAJ: A Journal of Performance and Art 43, no. 3 (2021): 60–62. http://dx.doi.org/10.1162/pajj_a_00584.

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30

Aalbers, Manuel. "Williamsburg, New York: 'living apart together'." AGORA Magazine 17, no. 1 (February 1, 2001): 34–36. http://dx.doi.org/10.21825/agora.v17i1.9148.

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31

Lareau, Alan. "Music in German Immigrant Theater: New York City, 1840-1940." Monatshefte 102, no. 4 (2010): 621–22. http://dx.doi.org/10.1353/mon.2010.0025.

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32

Lecat, J. G. "Real Estate and Theater Space in New York: A Forum." Theater 35, no. 3 (January 1, 2005): 134–45. http://dx.doi.org/10.1215/01610775-35-3-134.

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33

Jackson, Anthony. "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." New Theatre Quarterly 10, no. 39 (August 1994): 297. http://dx.doi.org/10.1017/s0266464x00000701.

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34

Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (December 1, 2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.

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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.

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35

Koger, Alicia Kae, and Jack W. McCullough. "Living Pictures on the New York Stage." Theatre Journal 37, no. 2 (May 1985): 250. http://dx.doi.org/10.2307/3207093.

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36

Iacobuţe, Ramona-Petronela. "The Theater And The Pandemic: The Theater In A Zoom Or Facebook Window." Theatrical Colloquia 10, no. 2 (December 1, 2020): 133–37. http://dx.doi.org/10.2478/tco-2020-0026.

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AbstractThe year 2020 is a difficult one for all of us: employees, employers, economic or cultural operators, event organizers, parents and children, artists and spectators. Nothing is as we knew it. The classroom, the performance hall, the office, all moved to our living room, and new technologies have shown us once again that we can no longer live without them in the 21st century, that they can save us in situations that at first sight have no solution. The emotion, the closeness, the direct contact from the rehearsals and from the performance hall have become a rarity for those who work in the artistic area, with the mass spread of a virus that does not take into account anyone’s needs. The artists were forced to bring on stage a mask that they would never have wanted there, the surgical one, and the theater to exceed new limits. Online rehearsals, in the heart of your own library, online premieres, live streaming and pay-per-view have all taken over a living art, an art that needs the here and now of the real, the physicality of real life. Screens are the new filters through which we sift our emotions. Distance art, technologymediated art, pseudo-appropriation are part of the new reality of those who creates and consume art. Surgical masks and visors become indispensable components when working on stage costumes and this can reduce emotion. But this is a challenge for artists like no other, their limits are tested, their creativity tried and their ability to adapt extremely demanded.

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37

Rodger, Gillian. "Legislating Amusements: Class Politics and Theater Law in New York City." American Music 20, no. 4 (2002): 381. http://dx.doi.org/10.2307/1350151.

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38

Wright, Josephine, and Thomas L. Riis. "Just before Jazz: Black Musical Theater in New York, 1890-1915." Notes 49, no. 2 (December 1992): 527. http://dx.doi.org/10.2307/897893.

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39

Graziano, John, Thomas L. Riis, and Allen Woll. "Just Before Jazz: Black Musical Theater in New York, 1890-1915." American Music 10, no. 4 (1992): 492. http://dx.doi.org/10.2307/3052039.

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40

McGinty, Doris, Thomas L. Riis, Henry T. Sampson, and Allen Woll. "Just before Jazz: Black Musical Theater in New York. 1890-1915." Black Perspective in Music 18, no. 1/2 (1990): 230. http://dx.doi.org/10.2307/1214894.

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41

Witmer, Robert, and Thomas L. Riis. "Just before Jazz: Black Musical Theater in New York, 1890-1915." Ethnomusicology 35, no. 1 (1991): 141. http://dx.doi.org/10.2307/852406.

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42

Heather May. "New Downtown Now: An Anthology of New Theater from Downtown New York (review)." Theatre Topics 18, no. 1 (2008): 92. http://dx.doi.org/10.1353/tt.0.0008.

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43

Landscape Architecture DPC, SCAPE. "LIVING BREAKWATERS— COASTAL INFRASTRUCTURE IN NEW YORK." Landscape Architecture Frontiers 5, no. 4 (2017): 96. http://dx.doi.org/10.15302/j-laf-20170410.

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44

Verhoeven, Betsy L. "New York TimesEnvironmental Rhetoric: Constituting Artists of Living." Rhetoric Review 30, no. 1 (December 17, 2010): 19–36. http://dx.doi.org/10.1080/07350198.2011.530101.

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Wetterau, N. "SY14-4 * MEDICAL MARIJUANA IN NEW YORK STATE: THEATER OF THE ABSURD." Alcohol and Alcoholism 49, suppl 1 (September 1, 2014): i14. http://dx.doi.org/10.1093/alcalc/agu052.59.

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Rosenthal, Cindy. "The Scene of Foreplay: Theater, Labor and Leisure in 1960s New York." TDR/The Drama Review 62, no. 4 (December 2018): 173–75. http://dx.doi.org/10.1162/dram_r_00807.

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Williams, Simon. "John Koegel,Music in German Immigrant Theater: New York City 1840–1940." Journal of Musicological Research 30, no. 4 (October 2011): 357–59. http://dx.doi.org/10.1080/01411896.2011.588165.

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Shteir, Rachel. "THEATER IN NEW York: THE INSANITY OF Passion: MARGARET Wolfson's MAJNOUN LAYLA." Theater 20, no. 2 (1989): 91–94. http://dx.doi.org/10.1215/01610775-20-2-91.

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Sack, Daniel. "The Scene of Foreplay: Theater, Labor and Leisure in 1960s New York." Contemporary Theatre Review 29, no. 1 (January 2, 2019): 92–93. http://dx.doi.org/10.1080/10486801.2018.1561012.

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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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Abstract:

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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