war establishment
The level of equipment and manning laid down for a military unit in wartime.
Pericles Reference library
Sonia Massai and Anthony Davies
The Oxford Companion to Shakespeare (2 ed.)
...virgin and no prostitute: he leaves promising to help. The Bawd, outraged by Marina’s behaviour, orders Boult to deflower her, but she persuades him she will be more profitably employed in respectable activities such as sewing, weaving, and dancing. 20 Gower narrates Marina’s establishment as a singer and embroiderer, and the arrival of Pericles’ ship at Mytilene. 21 Lysimachus enquires after Pericles’ distemper and suggests that Marina might be able to cure him. Marina is sent for and sings to the silent Pericles. He initially pushes her away, but his interest...
London
Harley Granville-Barker
Israel
Sicily
Rome
Anti-War Musicals Reference library
The Oxford Companion to the American Musical
...the Civil War. Although such pacifist ideas were anathema in the 1950s and early 1960s, anti-war musicals flourished with the arrival of rock musicals, guerrilla theatre, happenings, and all the other experiments of the late 1960s and early 1970s. Most of these musicals were stronger in content and conviction than in craftsmanship and were usually presented Off Broadway or Off Off Broadway. Yet there were notable exceptions in all three venues. Hair ( 1968 ) unabashedly attacked the Vietnam War and the military along with its other establishment targets Off...
Stage Door Canteen Reference library
The Oxford Companion to American Theatre (3 ed.)
...World War II to entertain soldiers free of charge. It was founded by the American Theatre Wing and the USO (United Service Organization). The first and principal one was established in the basement of the 44th Street Theatre. Broadway performers and others passing through New York offered their services gratis, not merely entertaining but often serving as waiters and dishwashers. Irving Berlin saluted it in his all‐soldier show, This Is the Army ( 1942 ), with the song “I Left My Heart at the Stage Door Canteen.” Similar, smaller establishments were...
Whittaker, Herbert Reference library
Denis Johnston
The Oxford Encyclopedia of Theatre and Performance
...Trained in design, he began reviewing for the Gazette in his native Montréal , and from 1949 to 1975 was lead critic at Toronto 's Globe and Mail , ‘Canada's national newspaper’. Whittaker's encouragement of new professional ventures was vital to the establishment and growth of Canada's post-war theatre. He also continued as a theatre practitioner: in 1951 he was named best director at the Dominion Drama Festival, and in 1961 designed a celebrated ‘Eskimo’ King Lear for the touring Canadian Players. Critical collections and memoirs by Whittaker...
Cabaret Reference library
The Concise Oxford Companion to the Theatre (2 ed.)
...however, it began in 1881 with the establishment of Le Chat Noir in Paris, where artists, poets, and musicians presented their work. Its many imitators toured widely and were influential on the Continent, particularly in Germany and Russia, where in 1908 Balieff produced The Bat, later to become famous in Paris as Le Chauve-Souris. In Germany cabaret developed a political content after the First World War, especially in Berlin, reaching a peak in the 1930s and being banned by the Nazis in 1935 . No post-war cabaret has achieved comparable political...
Basic Training of Pavlo Hummel, The (1971) Reference library
The Oxford Companion to American Theatre (3 ed.)
...he is undeterred. His sergeant, Tower ( Joe Fields ), represents the military establishment, which turns him into a benumbed orderly, while Ardell ( Albert Hall ), acting as an involved Greek chorus, comforts him and explains the often‐baffling world to him. At the end of the play his coffin sits alone on the stage. Hailed by Clive Barnes of the Times as introducing “a new and authentic voice to our theatre,” the Joe Papp production was the first in Rabe's trilogy on the war, the other plays being Sticks and Bones and Streamers . It employed the...
Altman, Robert (1925–2006) Reference library
The Oxford Companion to the American Musical
...Robert [ Bernard ] ( 1925–2006 ). Film and stage director . An anti-establishment auteur with a distinctive style, he directed three musicals during his long and impressive career. Altman was born in Kansas City, Missouri, served as a bomber in World War II, and then studied engineering at the University of Missouri before turning to writing film scripts. He directed independent films and several television series before finding fame in Hollywood with M*A*S*H ( 1970 ). Like his subsequent efforts, it was quirky, satiric, and multilayered with...
Okhlopkov, Nikolai Reference library
The Companion to Theatre and Performance
...acquired the leadership of the Realistic Theatre in 1932 where he sought to implement his idea of a communal theatre. Reconfiguring actor– *audience relationships so as to encourage emotional involvement, Okhlopkov staged plays on revolutionary and Civil War themes. Ironically the establishment rewarded him by merging his theatre with *Tairov 's—the theatrical equivalent of chalk with cheese. Following film appearances, which included *Eisenstein 's Aleksandr Nevsky , Okhlopkov's career resumed its course when he took over the Mayakovsky Theatre,...
Rolland, Romain Reference library
C. Henrik Borgstrom
The Oxford Encyclopedia of Theatre and Performance
...Romain ( 1866–1944 ) French novelist, essayist, and playwright, considered one of the most influential populist intellectuals in France between the two wars. In an age of fervent nationalism, Rolland placed his faith in pacifism and communism, and railed against the elitism of the artistic establishment. With his 1903 essay Le Théâtre du peuple ( Theatre of the People ), he emerged as one of the first vocal proponents of the ‘théâtre populaire’. His major work for the stage was the monumental Théâtre de la Révolution , comprising eight separate...
Berkoff, Steven Reference library
R. Valerie Lucas
The Oxford Encyclopedia of Theatre and Performance
... ( 1980 ), savage critiques of the class system in Decadence ( 1981 ) and of the Falklands War in the Sink the Belgrano ( 1987 ), and the lyrical The Secret Love Life of Ophelia ( 2001 ). A theatrical iconoclast, Berkoff remains critical of the British theatrical establishment, despite directing Salome ( 1988 ) and The Trial ( 1991 ) at the Royal National Theatre . Stints as Hollywood villains and (ironically) as Hitler in the television epic War and Remembrance ( 1986 ) bankrolled his own theatre productions, enabling him to retain artistic...
Littlewood, Joan Reference library
The Companion to Theatre and Performance
...Joan ( 1914–2002 ) With Theatre of Action, Theatre Union, and finally *Theatre Workshop (London, from 1953 ), Littlewood became famous for her anti-establishment, risk-taking, collaborative theatre. Her developmental approach, called ‘work-shopping’, was applied to the classics and living authors alike. Some distressed dramatists found their plays work-shopped beyond recognition, but the scripts of *Behan and *Delaney , among others, were successfully produced by this method. Littlewood was always opposed to the *bourgeois theatre of ...
Browne, Maurice (1881–1955) Reference library
The Concise Oxford Companion to the Theatre (2 ed.)
...where he is credited with having founded the Little Theatre movement ( see AMATEUR THEATRE ) by the establishment in 1912 of the Chicago Little Theatre, which he directed for several years. In 1920 he was directing on Broadway, and in 1927 he made his first appearance in London, as Adolf in Strindberg 's The Creditors . In 1929 he took over the management of the Savoy Theatre and presented there with remarkable success R. C. Sherriff 's war play Journey's End , himself playing Lieutenant Raleigh. In the following year he produced Othello ...
Liebler, Theodore (1852–1941) Reference library
The Oxford Companion to American Theatre (3 ed.)
...Theodore ( 1852–1941 ), producer . Born in New York, shortly after his father was forced to flee Germany for partaking in an insurrection, he began working as a commercial artist, and before long he had a modestly successful lithograph firm in Park Place. When his establishment was destroyed by fire, George Tyler persuaded him to join forces to produce The Royal Box ( 1897 ). The play was a success, inaugurating the long career of Liebler and Company. Among its memorable productions were The Christian ( 1898 ), The Children of the Ghetto (...
Pendleton, Austin (1940– ) Reference library
The Oxford Companion to the American Musical
...by such musical performances as the anti-establishment poet Isaac in The Last Sweet Days of Isaac ( 1970 ), the suicidal Harry Berlin in What About Luv? ( 1991 ), and a replacement for the dying clerk Otto in Grand Hotel ( 1991 ). Even as Pendleton acted in many nonmusicals on and Off Broadway, he started directing in regional theatre and then New York, helming such notable plays as the Elizabeth Taylor revival of The Little Foxes ( 1981 ) and the dramas The Runner Stumbles ( 1976 ) and Spoils of War ( 1988 ), as well as the Broadway musical ...
Biramangol, Mayanglambam (1908–79) Reference library
The Oxford Companion to Indian Theatre
...1908–79 ): founder-member of *Aryan Theatre , Manipur. He was a unique product of the dichotomy between Sanskritic acculturation and the indigenous Meitei religion, and also a sympathizer of the Communist Party after World War II. The leading figure in post-War *Manipuri theatre , he spent all his earnings from contract work during the War in the cause of theatre, without financial returns to his family. He wrote more than thirty plays after studying ancient Manipuri texts, and developed the issue of the contention or struggle between Hinduism and Meitei...
