Theatre in the United States

Read and translate the text. Answer the questions after the text.

ADDITIONAL TEXTS FOR READING AND DISCUSSING

I

Drama was the last of the literary types to which American writers have made a significant contribution, and this only in the last fifty or sixty years with appearance of the works of such playwrights as Edward Albee, Arthur Miller, Eugene O’Neill, Robert E. Sherwood, Neil Simon, Thornton Wilder, and Tennessee Williams.

Colonial Americans enjoyed plays and even the Puritans attended dramas called “moral dialogues”. In the American South both Charleston, South Carolina and Williamsburg, Virginia had active theatres many years before the Revolutionary War. New York and Philadelphia had theatrical centers in the 18th century. During the period of westward expansion, traveling companies of actors went by stagecoach and canal or river boats to carry plays to the pioneering settlers. Some acting companies built theatres on river boats, called “showboats,” which moved up and down such rivers as the Ohio and the Mississippi, giving theatrical presentations at larger towns and cities along the way. The advent of the railroads brought even closer ties between the geographical regions and soon nearly every town had its “opera house” where shows played during the “season”.

As years passed, the “opera houses” were converted into motion picture theatres as Hollywood began to produce film dramas which nearly everyone could afford to see, and which were easily accessible to the general public. The radio soon brought radio plays directly into the home, and, within a few more years, television brought the magic of live drama before the eyes of millions of avid viewers. Today, not only are movies and television adaptations of famous Broadway plays being presented on the television screen, but also a new and growing field of drama has sprung up — the television play, one written especially for television production.

Both radio and television, because of the time and space limits of each medium, were fertile ground for the development of the short drama, the one-act play. Although the one-act play has been a popular form of entertainment in America for more than 60 years, and literally thousands have been written and produced in schools, colleges, civic and community theatres, and professional theatres, radio and television drama helped to form a new breed of one-act play dramatists.

Historically, in 1915, the Washington Square Players (who eventually became the world-famous Theatre Guild) chose three one-act plays for their first public performance at the Bandbox Theatre in New York City. In the first three years of their history, the Washington Square Players performed 62 one-act plays, many of which were written by famous playwrights of the time.

Perhaps the greatest positive influence on the development of the one-act play in American drama was that of Eugene O’Neill. In 1916 his first play to be produced was presented by the Provincetown Players. Probably no other dramatist in American theater history has written so many excellent one-act plays, many of which are still being acted today. Since 1916 most of America’s outstanding playwrights have first succeeded with plays in a one-act form. And today the short play is enjoying great success both on Broadway and in a number of cities outside of New York.

Theater in America is especially healthy in the hundreds of regional and university groups around the country. But it is Broadway with its some 40 major professional stages and the over 350 off-Broadway experimental theatres that bring to mind American playwrights such as O’Neill, Miller, Saroyan, Williams, Inge, Albee, Jones, Simon, Shepard or Wilson. There are over 15,000 professional actors in New York alone, and another 20,000 or so in the state of California. Over 16,000 professional musicians and composers live in New York, and almost 23,000 more in California. The competition is intense.

Neither the theatre nor any of the other arts in the United States, by the way, rely on state support. They do not survive because they are financed by cities or states. Many Americans tend to see culture and the arts as areas that the government should not interfere with. The idea of a Minister for Culture or Music is foreign to them. They do not see government as the patron of the arts. In addition, people who like jazz, for example, do not see why their tax money should be used to support the pleasures of those who prefer classical music and vice versa. And those who like rhythm and blues aren’t very impressed by the argument that opera will make us all more civilized. Americans feel that each person should be willing to support and help pay for his or her own favorite cultural activity, whatever it may be.

1. When did the first theatres in America appear?

2. What types of theatres were “showboats”?

3. What famous American playwrights do you know?

4. Did every town have its own theatre?

5. Why did one-act plays become popular?

6. What were the influence of the radio and TV on the theatre?

7. How many professional stages are there on Broadway?

8. Have you read any plays by E. O’Neill?

9. Do theatres in the USA depend on the state support?

10. Is there a Ministry of culture in the USA?