The Factors American Stage - Article Example

The Factors American Stage Table of Contents I.Proposal Summary 2 II.Narrative 5 A.Program Description 5 B.Evaluation 14 Works Cited 15 I. Proposal Summary Cultures, national heritage, social rudiments and certainly, the chronological historic episodes; all these factors altogether build up the iconic portrayal of any country in the global podium. It is with the virtues of these distinctive factors that every particular country today possesses a unique identification in the midst of dynamic human civilization. Correspondingly, there are various icons which are characterized to replicate these national rudiments in a way which promotes the heritage of the country, making an increasing population aware of their cultural pride and patriotic irony. National theatres, in this respect, have been playing an idiosyncratic role to hold up their responsibility towards replicating national heritages in the global dais. As stated by Maanen, Kotte and Saro, “Many National Theatres were established with a nationalist remit and they participated in the construction of national identities and in legitimizing the aspirations of nationalist movements” (26). It was fundamentally based on these aspirations that during the 1930s and until a few subsequent decades, various countries and cultural assemblages intended establishing theatres among which the American National Theatre, better known as the American National Theatre and Academy (ANTA), apparently pursued an inevitable position. However, with the chronological effects of altering socio-demographic scenario, the theatre happened to witness a fading reputation, majorly owing to its limitation of being a ‘self supporting’ association. This particular legitimation of operating as a ‘self supporting’ association, restricted the theatre group to preserve its financial litheness in the up-to-the-minute economic environment (Canning, ““In the Interest of the State”: A Cold War National Theatre for the United States”). With due regards to these fundamentals concerning the role of National Theatres and the limitations witnessed by the ANTA in executing its functions in the modern day context, the proposal will intend to put forward a few suggestions which can be quite beneficial in retaining the reputation of the theatre. These suggestions or rather proposed strategies will be framed by taking into account the performances of plays from the 18th, 19th and 20th centuries in the various Broadway theatres of ANTA along with a few promotional strategies to allow greater inflow of funds, preserving its visionary aim to operate as a self-supporting non-profit association. The suggestions to be developed in this proposal will principally aim at mitigating the funding issues and comprehensively documenting the vision behind instigating ANTA amid the modern American society. It is worth mentioning in this context that even though ANTA has been concentrating on its various strategies over the past decades, such as organizing Broadway theatres, production tours all around the United States and collaborating with various theatre groups in the country along with training the young like-minded professionals, its vision perhaps remain only partially realized (The American National Theatre, “About The ANT”). II. Narrative A. Program Description The Proposed Plan Chronologically, there have been many changes introduced in the operations of the ANTA, partially influenced by the dynamism of the modern drama culture, and partially being impacted by the continuously altering socio-cultural and economic needs. However, during its inception and over the entire period of its performance the mission and the vision of the organization had been centralized to expand the royalty and pride of American drama and theatre culture to the various cities of the United States, besides New York (Bruguiere 86-91). However, the operations of the ANTA were not limited in the national context owing to the need for generating greater funds and thus had to witness the restriction of being a self-supporting organization. The ANTA later also had to consider the inclusion of European dramas being strongly influenced by the impression that new American plays were quite limited in numbers and therefore, assistance from international production houses were essential to keep hold of the reputation and fund inflows of the theatre. To put in the industrial phrases, owing to the minimization of industrial production in the entertainment sector of the United Sates and the restriction to collect funds from commercial donors, the ANTA had to expand its operations with the inclusion of the European theatre culture during the recent decade (The American National Theatre, “About the ANT”). Apparently, the ANTA has been facing crucial challenges not only from the economic but also from the social ends, which led it towards a weakening operational structure. However, correspondingly it can be mentioned that funding issues in non-profit organizations, especially those which are legislated as self-supporting similar to the ANTA, has always been a major barrier to their continuous growth. In case of ANTA, one of the most apparent perplexities which might have influenced its funding issues has been its visionary aim to entertain the community with theatre performances at a price range which can be afforded by almost every American. Thereby, the organization has to witness the restriction of competing with other commercial theatre firms which in turn imposes the negative influences of antagonism. On the contrary, the organization also possesses the virtues of wide accessibility in the United States where its vision can be channelized with the assistance of its various member theatres engaged with the presentation of premier shows based on plays written by modern dramatists (Bruguiere 86-91). Moving forth to the industrial or wider context of American theatres in the 21st century, a revitalizing phenomenon can be observed as becoming steadily transparent rewarding a new, developed and certainly an expanded meaning to the entertainment culture within the society. However, the transition has been slow majorly owing to the technology advancements of the entire nation which has altered the human lifestyle massively. Unlike the previous centuries, people today prefer relaxing at their homes, watching television documentaries and high-definition movies rather than visiting a classic theatre and watching live dramas (Columbus, “Theater as a Democratic Space in the Twenty-first Century”). It is in this context that communicating and revitalizing the vision of the ANTA becomes quite significant to ensure the sustainability of the organization along with the worthiness of American theatre culture to serve as a presenter of national pride. With this concern, the organization can focus on the henceforth described strategies which would yield it a better scope to obtain funds in a self-supported way along with serving its vision to encourage theatre culture amid the young generation of the 21st century. Primarily, the ANTA can focus on holding premier shows of recent dramas which are expected to be released in the upcoming years. Correspondingly, the theatre can also organize for award shows not only to encourage young dramatists, but also to bow respect to the conventional and unforgettable writers of the past. It can also organize theatre performances for dramas which were earlier performed by conventional actors during the 18th and the 19th centuries in a modern way organizing for a theatre festival throughout its countrywide network. This shall not only encourage the young actors to recognize the potentials of theatres to enhance their acting skills, but shall also attract modern viewers to recognize the dynamism of such plays as untiring entertainment options. Correspondingly, as the theatre group is legislated to operate as a self-supporting organization, and therefore has to gather the required funds from its sole operations, the ANTA can focus on organizing frequent Broadway shows which would permit greater fund inflows within a short span of time. Furthermore, it is essential that the ANTA renders greater priority to its training programs to encourage the young performers simultaneously minimizing the hiring costs of actors from different regions of the United States. The continuous expansion of the ANTA can also be observed to impose financial restrictions on the organization in terms of increased maintenance and event management costs. Therefore, the organization can aim at retrenching a few of its member theatres allowing them to operate isolated; however, bowing to the similar vision to that of the ANTA. This particular strategy in turn can be expected to support the funding programs of the organization along with satisfying its vision to continuously expand the potentials of American theatre culture. Appropriateness of the Plan The strategies proposed in the above section offers a degree of significance to both the financial limitations witnessed by the ANTA and the issue of limiting scope concerning the sustainable promotion of American theatres. It is worth mentioning in this regard that today theatre performances have gained a reputation of historical irony and cultural heritage, besides being valued as a laudable platform of talents in the entertainment industry. Hence, the recent operations of theatres tend to have a significant impression on the historic values of entertainment industry. Simultaneously, the recent industry trends can also be observed as strongly influenced by the same historic rudiments. Perhaps, it is due to this particular reason that the synchronization of today’s theatre trends, replicate a direct influence of the chronological transitions happening in the entertainment industry, especially since the 18th century. As marvelously worded by Dunlap, “…it appears to us that a history of the American theatre is a subject of importance as connected with the history of our literatures and manners. Such a history will tend to mark the growth and improvement or our country and may be eminently subservient to the cause of morals, whether the theatre as it exists is so or not” (2). The proposed strategies suggest that the ANTA should focus on organizing the plays which were premiered during the 18th, 19th and even during the 20th centuries which would certainly add to the rich heritage of American theatres. It was during these centuries that the American theatre culture attained its historic achievements. Re-performing these acts can therefore tend to be quite beneficial in establishing the vision of ANTA to communicate that has been centered towards developing a distinct identification of the American theatre culture amid the modern populaces. Two of the most famous American dramas written in the 18th century, i.e. The Battle of the Bunkers-Hill (1776) by Hugh Henry Brackenridge and The Contrast (1787) by Royall Tyler can be thus included in the list of performances by the ANTA while instigating its theatre festival all around the country. These two acts are often regarded as too precious in the American theatre history as the narrations apparently demonstrate the patriotic feelings persisting within the then society, accounting almost every rudiment of the cultural structure of the nation during the period (Gates 6-8; Tyler, “The Contrast”). Similarly, from the 19th century, the two acts, which were also based on the then socio-cultural situations, namely Anna Cora Mowatt’s Fashion (1845) and Dion Boucicault’s The Octoroon (1859) can additionally be included in the list of plays. It was during this era that the influence of patriotism was observed to fade slightly on the theatre performance compared to the 18th century being largely based on social diplomacy (Boucicault, “The Octoroon Or, Life In Louisiana”; Manuel, “Anna Cora Mowatt’s Fashion: Theatrical Refashioning of the Female Self in Antebellum American Drama”). The significance of these two melodramas in the social context has been dignified with the rise of early female dramatists not only as superior actors, but also as magnificent dramatists. Undoubtedly, it was during this period that American theatre started gaining its shape and developing at a rapid pace (Manuel, “Anna Cora Mowatt’s Fashion: Theatrical Refashioning of the Female Self in Antebellum American Drama”). The century, in the American history of theatres has also been regarded as quite significant as it witnessed the birth of musical theatre. It was in this era that The Black Crook, written by Charles M. Barras, was premiered which is often argued to be the first Broadway musical theatre (Patinkin 41-43). The American theatre culture continued to develop in the 20th century. In the words of Aronson (1857), it was during this era that theatres had gained the fame of a national forum which promoted ideas, debates, national consciousness and opinions amid the common people of the American society. The plays, A Streetcar Named Desire (1947) by Tennessee Williams and All My Sons (1947) by Arthur Miller were premiered in the same year, where the former replicated the hardships faced by the writer himself; while Miller’s composition was influenced by the catastrophe and the expositions of the 20th century America (Kolin, “The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewer”; Oikawa, “All My Sons as Precursor in Arthur Miller’s Dramatic World”). Hence, it can be recognized that dramas in 20th century were also based on the social stature of the then America replicating the transmission taking place within the national context. The above discussion apparently depicts the cultural value of American theatre, which had been intimately related with the continuous ups and downs of the society since its early 18th century. Apart from the regular or most expected imaginative stories, the dramas played in the American theatres had been concentrated on the social alterations and cultural as well as economic fluctuations which certainly imposed an inevitable impact over the lifestyle of common people. Hence, by performing these plays and also by informing the viewers regarding the history and background of these acts, the ANTA shall be able to revitalize national consciousness amid the American population and thereby gain sustainability. Moreover, as these acts have been a few of the most famous classics in the American theatre history, it is quite likely that a greater number of viewers will be attracted making the Broadway shows successful and rewarding a sustainable return on the investment. Serving the American People and the Nation through the Plan The plays mentioned above, to be included in the lists of dramas during the proposed theatre festival of the ANTA, apparently honors the national history along with the social transitions of America which has been taking place over the past centuries. Performing these arts in the ANTA theatres can therefore be expected as highly beneficial not only to bring the young generation of the 21st century closer to the heritage of theatre culture, but shall also prove quite virtuous in educating them regarding the national dignity of American people proving its power to win every kind of challenges and barriers. Furthermore, as the shows are to be held in Broadways allowing permits at cheaper rates, thus viewers from every social class and income groups, possessing a degree of interest towards theatres shall be attracted. This in turn shall facilitate the attainment of the aims of the proposed strategies which would certainly eradicate its weakness in terms of limited exposure or realization of ANTA’s vision. B. Evaluation It has often been stated by various strategists that only implementation of the documented or planned strategies do not refer to the completion of the entire process and the establishment of the aims. The effective implementation of strategies also requires continuous monitoring and evaluation of the achievements made at the completion of every phase in the planned process. Hence, to evaluate the effectiveness of the proposed plan to the ANTA, the identification of every determining factor is essential. Correspondingly, the effectiveness of the proposed strategies will be depended on the responsiveness of the audiences, which can be measured in terms of the demand for booking tickets, along with the readiness of the actors to perform in such challenging acts. It is worth mentioning in this context that actors might decipher reluctance in performing the characteristics illustrated in the listed plays as these roles have already been played by senior professionals making it quite challenging for them to gain a distinct place amid the viewers. However, the ANTA can enhance the skills of the actors by offering effective training facilities making them confident enough to perform the roles. It is also noteworthy that viewers in today’s era might prefer modern classics of the 21st century greater than the melodramas of the 18th or 19th century owing to which, the ANTA should also focus towards extensive promotions through various media channels along with simultaneously encouraging the young dramatists to participate in the theatres. Works Cited Boucicault, Dion. “The Octoroon or, Life in Louisiana.” Georgia Southern University (1859): 404-456. Print. Bruguiere, Ron. Collision: When Reality and Illusion Collide. United Kingdom: AuthorHouse, 2011. Print. Canning, Charlotte M. ““In the Interest of the State”: A Cold War National Theatre for the United States.” Theatre Journal 61.3 (2009): 407-420. Print. Columbus, Curt. “Theater as a Democratic Space in the Twenty-first Century.” Trinity Repertory Theater, 2007. Web. 24 Sep. 2012. Dunlap, William. A History of the American Theatre. New York: J. & J. Harper, 1832. Print. Gates, Robert Allan. 18th- and 19th- Century American Drama. United Kingdom: Ardent Media, 1984. Print. Kolin, Philip C. “The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewer.” Journal of Dramatic Theory and Criticism (1991): 45-68. Print. Maanen, Hans Van, Andreas Kotte, and Anneli Saro. Global Changes--local Stages: How Theatre Functions in Smaller European Countries. Netherlands: Rodopi, 2009. Print. Manuel, Carme. “Anna Cora Mowatt’s Fashion: Theatrical Refashioning of the Female Self in Antebellum American Drama.” Revista de Estudios Norteamericanos 7 (2000): 27-41. Print. Oikawa, Masahiro. “All My Sons as Precursor in Arthur Miller’s Dramatic World.” Ritsumeikan Annual Review of International Studies 1 (2002): 99-120. Print. Patinkin, Sheldon. “No Legs, No Jokes, No Chance”: A History of the American Musical Theater. US: Northwestern University Press, 2008. Print. The American National Theatre. About The ANT, n.d. Web. 24 Sep. 2012. Tyler, Royall. “The Contrast”. National Humanities Center Resource Toolbox, 2010. Print. Read More