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THTR 327 - EXAM #1
THTR 327 - EXAM #2
| Question | Answer |
|---|---|
| combination company | puts on a certain show w/ a certain cast - specific scenery, no stock -- higher quality than normal |
| who popularizes concept of combination company | Dion Boucicault |
| what helped combination companies | growth of railroads |
| by 1890s combination companies tripled in size and | legitimate theater (plays, non musicals) and popular theater (circus) |
| Advantages to the Combination Company: | Discourage piracy of plays, Way to employ seasonally-salaried actors, Better product - more uniform, rehearsed acting, A proven product - succeeded for large number of audience members |
| Discourage piracy of plays | This is the real thing, only here for a week It is much better, so why go see the copy crap version |
| Way to employ seasonally-salaried actors | Good for you as an actor too |
| Better product - more uniform, rehearsed acting | People actually know their lines No more 30 shows in head at a time |
| A proven product - succeeded for large number of audience members | Reputation A little more expensive to see these shows |
| Consequences of the Combination Company | Managers become landlords that book in combination, Actors are hired for a run of the show; no longer hired for season, Centralization of theater to the East Coast and eventually NYC; Reduction of the resident repertory company |
| Managers become landlords that book in combination companies | this just is what it sounds like |
| Actors are hired for a run of the show; no longer hired for as season | If show is not making enough money, it gets cancelled No union so screw you actor figure it out, stranded where show gets cancelled |
| Centralization of theater to the East Coast and eventually NYC | actors must get work out of NYC |
| Reduction of the resident repertory company | 1870 - 50 resident 1900 - 0 |
| what production was the first combination company in 1850 | UNCLE TOM'S CABIN |
| what laws were created between 185-1900 that were significant | copyright laws |
| what tradition after a show, like a pixar short or improvment IDS after The Harvest | the afterpiece |
| first production to remove the afterpiece | UNCLE TOM'S CABIN |
| what is the practice wher eactors are hired to be villain, ingenue, etc that ended for specific casting called | hiring in "lines" |
| do runs get longer or shoter because of combination companies | longer! 300 nights of uncle toms cabin more money too if they can keep a show up for people that like |
| but what is bad about combincation company longer runs | Fewer opportunities for playwrights to get discovered so fewer new plays |
| 1st foreign-language star to tour the U.S | some girl named Rachel |
| rachel was what | Raining queen of french theater she would do theater in french so "authentic" Racine's Phedra |
| who comes over nd does italian plays | Ristori |
| who was the german that came over and was a foreign star | German |
| what theater was built for son to become a star | Wallack's Theater |
| first big theater in the 1920s, became a presence in NY | Wallack's Theater - good taste, excellent acting, well-balanced repertory |
| Augistin Daly's theater was called | Daly's Fifth Avenue Theater spectacle! |
| Daly as a director | authoritarian director (way too specific in an evil way) - managing and staging show bc not an idea at p for directors |
| what did edwin booth hope to create | a national theater (but dream never realized) |
| what would this dream of a national theater be | Booth Theater |
| the booth theater did shakespeare but why was this not always exciting | Daly theater had people getting run over by trains okay party |
| how many years did booth have managerial power | 4 years, but theater lasted 14 years |
| Mrs. John Drew | Manager of the Arch Street Theater - Philadelphia Female rarity - #girlboss - 15 years |
| first actress-manager | Laura Keene (10 years) - Washington DC Onstage doing the show when Lincoln was shot, she was holding Lincoln’s head onstage - #girlboss moment |
| Mrs. Sinclair | (formerly Mrs. Edwin Forrest) - 4 years in San Francisco |
| Charlotte Cushman | 1 year in Philly, tried it and hated it |
| Mrs. Merry | (widow of Thomas Wignell) 2 years at the Chestnut Street Theatre |
| more managers led to more | theaters built everywhere |
| where was lincoln shot | Ford's Theatre (restored) DC |
| what chicago theater was a rival to NYC theaters | McVicker’s Theater - Chicago - 1857 |
| First theater built by a religious sect | Salt Lake Theater - 1862 |
| how did metropolitan theater get created | gambling saloon with success wnough, make it legit Charlotte Sinclair entrusted |
| what company/theater led by john mccullough surpassed everything | California Theater - San Francisco - 1869 - like wow better lighting, scenery |
| what other theater was listed in my notes but has nothing else said about it and was in Colorado | Tabor Opera House 1883 |
| what number was the peak of reperetory theaters in the west in 1870 | 50 rep theaters they provide a lot of training, provide tours |
| Neoclassical, Realistic-Romantic, Kemble, Romantic became what | personality (go to see someone and they are just themselves), classical, school of emotionalism |
| classical school of acting | varied skills, able to play many different things attempts to transform personality |
| only 100 years prior where hands in pockets was cray but now | Appearance of naturalness and spontaneity, but everything was specifically planned out now people may lean on things |
| We would not think it was real, based on performance now as classical performances | Idealistic presentation of human behavior |
| Suggested he may be the greatest actor America has ever produced | Edwin Booth - Classical actor |
| how did booth get his first perception of acting | father - huge outbursts onstage died when edwin was 19, so the influence could did last long |
| edwin booth + a sick actor | Stepped up for a minor role when an actor was sick, did so well, he lowk just became understudy number one |
| where does booth train | san francisco for 4 years, back to NYC to make a name for himself |
| who is the "hope of the living drama" | edwin booth |
| what had some influence on his popularity | his brother was part of this he surpassed forrest in his popularity |
| what made a respected comedian | character comedians + more sophisticated |
| who was one of the first great comedic actors in the US | henry placide |
| what made henry placide so popular | handsome and expressive face, supple figure rare talent - played wide variety of roles |
| where did henry placide primarily act | park theater 20 years 500 diff roles 200 original |
| placide's favorite roles | drunken lads and servants |
| placide is considered great until who comes along | william warren - known for variety, expression, and uniqueness |
| where did the guy considered better than placide stay for his final 36 years of performance | boston |
| what did warren do for american acting wordwide | essentially reported the talent --> international star performed over 13,500 times in over 600 diff roles |
| dion boucicault gets caught in what | doing only one kind of comedic role, he could do more but gets pushed into a box |
| what was boucicault's iconic role | the drunken loveable Irish character - always does right things accidentally - would write shows for himself with this character |
| what are boucicault's contributions | created fireproof scenery, copyright laws, combination companies, directed a lot, promoted box sets, wrote 130 plays |
| Personality School of Acting | Usually comedic actors as well, played a single type (think Jack Black IN something) |
| 4 tenets of personality acting | 1. not versatile; gains fame thru single role 2. primarily does contemporary plays 3. plays themself 4. relies on charm, personality, looks |
| who created the character Mose the Fireboy | Francis S. Chanfrau - drunk and irish character |
| what other major character dud Chanfrau play | Kit the Frontiersman from Arkansas - like american guy idk whatever |
| george "guess the word here y'all" Hill | yankee he developed this character further |
| who was george hill partner | denman thompson partners? okay dan and phil new era (im sorry) |
| Joseph Jefferson 3 developed which character that became bigness af | Rip Van Winkle but yeah he lowk wanted to leave this part |
| in 40 years how many times did jefferson play his iconic character | 2,500 times |
| Masterpiece that warmed the hearts and tickled the funny bones | rip van winkle (remember - tickle the winkle, funny bones) |
| Coined the phrase “No small parts, only small actors” | joseph jefferson |
| Withdrew as suddenly and unexpectedly as she appeared; NYC debut "sensation" | Anna Cora Mowatt - actress 9 years opposite of cushman style |
| despite her intelligence this NYC debut star only played what | women with charm mowatt had an emotional sensibility in her roles, but did not lose herself in it -- praised for physical exp + acting talents |
| School of Emotionalism | Melodrama - emotionalistic acting - women\ company of.. girlbosses more like yeah mhm |
| 3 tenets of emotionalism | 1. Lack of technique, control; not planned, relies upon inspiration of the moment; not consistent - the actors is feeling it 2. Lack of emotional constraint; graphic, overt display of emotion 3. No attempt to idealize/censor human behavior |
| this woman recognized the guy who shot lincoln as john wilkes booth | laura keene |
| miss lincoln lady virtue af was a successful manager and business women but how did she explore emotionalism | not super popular BUT one of first to explore this convention - very energetic performer |
| what women really defined this era by indulging in lavish exhibitons of rage, tears, hysteria | matilda heron |
| what changes to emotionalism did heron administer | - Did not make entrance acknowledging audience if there is a stop and applaud for a big star - Did not raise her voice in any presentational manner, very naturalistic on stage |
| what did heron do in CAMILLE | had a death bed scene that was so realistic it was called repulsive and revolting |
| so at some point in this theater history time aka the 1880s | literally a grillion (5 million) baddies (immigrants) |
| peaks of popular theater relative to each other | minstrelsy (1880) then short after circus (1870), than vauedville and burlesque (1910s) |
| what was the first type of popular theater to achieve its own sense of definiton for what it was | vaudeville - variety shows |
| tony pastor as a performer | variety performer himself (singer at barnum, minstrel, comic singer, song writer) sit down weird al |
| tony pastor as a manager | one of main forces behind vauedeville and he was like wait everyone in the audience is a man bc of the crude jokes wtf (real quote) |
| what did pastor do about men | produce an evening of variety skits and acts that was clean fun and family friendly - started a theater opera house - created tours and a like of these shows |
| what is the format pastor establishes for vaudeville shows | collection of skits, musical numbers, stand-up comedians, animals acts - tow hour performance of 6-7 acts, 5-8 performances a day (tired) |
| what takes over the vaudeville schedule | movies! |
| what the fuck do B.F. Keith and E. F. Albee do in boston | they open the Bijou theater in 1885, then buy more theaters, and create a chain |
| what kinda show schedule did Keith and Albee do | essentially an all you can eat vauedeville 10am - 11pm show running all day, come in whenever stay till whenever |
| T.D Rice the evil man i hate him did what on stage and people were just lihe that's the best thing i've ever seen | the jim crow dance he'd just dance on stage in like whatever circumstance |
| 1840s - first minstrel show | The Virginia Minstrels 4 black faced performers (violin, banjo, tambo, bones) |
| what group of minstrels developed the format that gets used for 40 years | The Christy Minstrels |
| first part of three of the minstrel structure | scripted dialogue w/ periodic song/dance 6-8 black faced performers in semi-circle, white-faced interlocutor in center Mr. Tambo and Mr. Bones |
| Mr. Tambo and Mr. Bones | two clowns, they sit downstage and make commentary on the semi-circle |
| second part of the minstrel structure | olio section - freeform, vauedeville inspo - addition of a host introduction |
| by 1880 the olio section | expanded, first part diminished in importance, novelty of african-american culture lesser |
| third part of minstrel shows | the finale similar to the afterpiece, followed by a walkaround (aka a megamix) |
| who was the all black minstrel troupe that also performed in black face | Georgia Minstrels |
| did women get involved with minstrely? | not really this unit is just girlboss |
| what year was the last minstrel show | 1921 |
| burlesque in 1850 | saucy in comparison to vaudeville travesty or satire to something serious |
| vaudeville becomes family oriented, so what happens to burlesque | they push the other way hello "Leg Art' |
| Ada Isaacs Mencken as Mazeppa | Only wearing tights at one point in the play Tied to the back of a runaway horse Drove the market for Burlesque |
| okay let's talk about this burlesque horse | wooden horse --> live horse that just stood there --> built a theater with a treadmill for horse and she flailed on back |
| what was considered the first musical | The Black Crook 1866 |
| what modern idea of a musical would The Black Crook follow | a book musical story and songs only sort of related |
| record breaking 474 performances where of the black crook and then toured for decades | Niblo's Garden on Broadway |
| story of how dancers ended up in the black crook | parisian ballet troupe whose academy burned down, help!, approached niblo and a guy was like wait let's incorporate them. added more songs and now a reason for 100 women in tights to be there. |
| what does burlesque have that vaudeville does not | a plot and story Format used to be that actors and singers do their stuff and leave for the dancers |
| what was niblo's garden known for | huge massive production scale, rocky grotto into fairy land throne room in front of audience Ballerinas flown in and people dressed as fish and crabs and lobsters for The Black Crook |
| Part of The Black Crooks success was because of what | the Civil War - women had to take on men's roles, larger female audience, women leading roles |
| Lydia Thompson and her British Blondes | dude idk what this is even abt ngl Robinson Crusoe From britain Brought a lot of attn bc uk, seen as scandalous She takes The Black Crook into a more burlesque male-audience route |
| so this is just a note i took that i think i shoukd include here | Burlesque → Striptease |
| why do circuses come back after 18th century | railroads improve |
| who was known as the greatest showman | hugh jackman uh i mean PT barnum |
| what was barnum known for | Known for inventiveness, originality, lies Come see the blood sweating hippopotamos |
| how many rings did barnum's circus have | three rings but no more |
| problem at barnum circus | everything sets on fire |
| who did barnum meet and go omg twin | Bailey |
| where did bailey start | the ringling brothers, sometimes they did plays not just variety acts |
| why does circus fall off | film develops 1900s |
| The most popular, most produced American play | UNCLE TOM'S CABIN potentially still most performed to this day |
| the man who will play St. Clare and manager of resident reperatory theater in Troy, NY | G.C. Howard |
| george aiken | the 22 yr old nephew of Howard who he commisioned ot make an adaptation of UTC - no copyright at this time so lolz |
| harriet beecher | wrote UTC novel and aiken 6 months later was like sucks to be you let me make the popular one |
| why did Howard want an adaptation | to show off the talents of his daughter cordelia |
| four year old on stage UTC | plays little eva, no abolitionist arguments at all, but apparently this little girl was so amazing and became a huge star and played in into her teens and then eventually played other roles |
| first combination company | in Troy, NY - UTC ran here for 100 nights in a city w/ 30,000 people okay so GOTTA move to NYC |
| UTC in NYC | ran at the national theater for 300 days straight - some days three shows in a row - at most 5 theaters in NYC running this show - also 5 others in london |
| UTC worldwide | bro this show had a grillion combination companies on it (500) played all over europe even an NYC production w singers n gospel |
| UTC x The Circus | as gryf said family guy clips during a movie -- two opposite performances at the exact same time in the rings |
| variations of UTC dog crossing ice scene | one version had fake ears on great dances when the circus did it the dogs = elephants |
| some key points abt UTC as a play | Play is melodramatic Intensity, build up, spectacle Scenes are short Heavily moralistic |
| Depending on where UTC played they would change a lot of stuff , what? | In the South the villains not as Villainous Boston more religious |
| what play tried to copy UTC fame | The Octoroon |
| although the octoroon was written to be anti-slavery | it was not always performed that way |
| bad summary of the octoroon | Young man George trying to save the farm, shrewd Yankee and dastardly villain from England. Girl is ⅛ Black, but George falls in love with her, but can’t marry her bc she is Black. Involves murder, has a trial. |
| what do melodramas love to have | the latest technology Someone could take an image of the murder bc thats the timing |
| who wrote the escaoe | WILLIAM WELLS BROWN |
| WILLIAM WELLS BROWN | born on a plantation, was the son of white man black enslaved woman He fled into the woods until he was hunted down by dogs because he was abused by somebody he was given to |
| what day did wells brown gain freedom | new years day 1834 |
| what was significant about the perspective on slavery in the escape | Black people actually gaining their freedom, versus a more palateable situation Not a matter of adventure, matter of individual theater |
| who does the escape make fun of | all of the white characters and some of the black characters |
| Brown escaped in Cincinnati, then | came to Cleveland |
| First African-American novel to be published | Clotel by WILLIAM WELLS BROWN |
| first African-American published play | The Escape |
| first African-American travel log | Three Years in Europe First history of AA civil war to be published also |
| what did wells brown do of questionable experience | medical doctor |
| increasing demand for realistic scenery | more electirc lighting Would walk over to a painted table and pretend to take a letter - so why not a real table wtb |
| scenic specificity | no longer neoclassic generality/universality Less stock scenery Small, trivial details, set dressing, props — clutter |
| scenic three dimensionality | sculptural Also in exteriors We can have real stuff onstage 3D sets w/ 2D backdrops |
| scenic historical accuracy | authenticity of time and location |
| Charles Kean’s Merchant of Venice | Actual accurate Venice Most of the audience's only actual view of venice See what a world looks like Want to set plays in fun places so people can exp that |
| plays used to get written to show off an actor, now | to show off a setting |
| Adoption of realistic scenery forces changes in theater architecture | Audiences want big scenery, so we gotta have a lot of and changing scenery Booth’s Theater - 1869 Much bigger rooms and areas |
| Free plantation system | You can plant things anywhere you want onstage |
| 1880 - Steele Mackaye’s Madison Square Theatre - NYC | Reduced seating to create an intimate space while having a big stage 700 from 3,000 Very into gesture + physical motion of actors Put orchestra above proscenium arch and removed the pit |
| Double elevator stage | The entire stage is an elevator Two levels, when one goes away they would change the other to get it ready to be brought back up 22 feet wide, 31 feet deep, 21 feet high Pulleys and mechanisms operated by 4 people Took 40 seconds |
| By 1900 - Theatre Auditorium (not every one) are like what | Orchestra and balconies (replace box/pit/gallery seating system Box office with reserved seating Partly prompted by changes in playwriting Flat stage floor equipped with elevator traps Box seats worst seats BUT you can be seen |
| 1870 - star actor had power, control 1900.... | director had power, control |
| Why does the director emerge at the end of the 19th century? reperetory | Repertory system is disappearing - someone to coach/train actors |
| Why does the director emerge at the end of the 19th century? actor-manager | Actor-manager now theater landlord/businessman - need person with artistic/aesthetic judgment |
| Why does the director emerge at the end of the 19th century? ensemble | Ensemble approach needed for realistic play - need someone to control the stars Step back this isn’t about you being DSC |
| Why does the director emerge at the end of the 19th century? naturalism | Need realistic style of acting for realistic play - need someone to help actors appear natural, lifelike Diff actors of different levels - need to be in same world |
| Why does the director emerge at the end of the 19th century? enviro | Actors now using their environments; no longer simple blocking |
| Why does the director emerge at the end of the 19th century? tech | Technical elements becoming more complex - need someone to coordinate them |
| Why does the director emerge at the end of the 19th century? historical | Desire for historically accurate productions - need someone to unify design elements |
| america's first director | Augustin Daly - Began career at 18 and became a manger - Started with his hand at dramatic criticism |
| what did daly open 15 years after his start | Daly’s Fifth Avenue Theater now a big influence on american theater |
| Daly takes his whole company to London which is | First visit of professional American company to London Ended up opening his own theater in London |
| First major producer to abolish what | hiring actors on lines of business |
| Strong opponent of the star system | #ensemblelover |
| what play did people love trying to do realistically at this time | Merchant of Venice |
| guy who could play Hamlet fully in English or in French | Steele Mackaye - director, manager, playwright, actor, teacher, inventor |
| delsarte system | mackaye - certain body positions that mean certain things developed his own school to study this i wrote in my notes: "Submissive af he was gay" and ik why i said this but thats more fun for yall |
| what kind of scenes did mackeye direct that audiences were like woah omg | crowd scenes |
| this guy has still got a theater named after him | David Belasco - director , manager, actor, playwright - just wanted to work in theater dgaf what it was |
| secretary to dion busio | belasco |
| In San Fran belasco was like man painted scenery lowk bad | Had a real cat onstage and a real baby and real food Audiences were like im shitting my pants |
| what theater did belasco manage for 2 years that became the lyceum theater | Madison Square Theater |
| 1895: left management said im just gonna be a producer, remained here for | rest of life, opened own theater - very specific shows, sets, etc |
| belasco x lighting | Wanted his shows to come as close as possible to the reality onstage No canvas stretched on frames everything must be real Utilized the fact that electric lighting was making its way into theaters |
| Credited for getting rid of footlights bc they are unnatural | belasco |
| what did belasco do that was actualism af | Had a cafe dismantled and built it in the theater (actualism) |
| Unlike Daly, Belasco believes in the what | star system likes the money Long run over repertory, exploit |
| if Belasco Broadway, | daly art |
| belasco lowk wrote | bad plays that just made money but there were 34 of them |
| American Theatre 1869 - 1900 | Increasingly realistic playwriting, movement towards realism is slowly taking over Characters who aren’t good and bad, see the average person onstage People are like waittt i’m just like them omg |
| Cited as an early example of realism and was incredibly popular | Steele Mackeye’s Hazel Kirke (1880) |
| How did Hazel Kirke ground itself: | saw mill set, working class, no conventional villain, guy who holds mortage sympathetic, no inflated language |
| Considered the be the first american naturalist | James Hearne - started as an actor but was bad at it Noticed people reacted differently to dickinson’s natural character - ppl like this - so he tried this and also saw belasco write and was like epiphany |
| First herne play attempt is bad af and then he was introduced to | ibsen plays Dedicated crusader for truth to life is theater (herne bc of love ibsen) |
| herne was known for his willingness to | sacrifice commercial success |
| MARGERET FLEMING | herne play - more progressive women stuff in america - Very controversial when she starts breastfeeding a child that is not hers - Impressive for time period, quiet rage - Very strong in its condemnation of men |
| why did herne have to rent his own tehater to do MARGARET FLEMING | Nobody wanted to do this play because it would lose money and audiences hated the ending - We don’t need to see adultery played out obscenely onstage - They also said disgusting and necessary |
| lowk why did herne write MARGERET FLEMING | so his wife could have the lead tole |
| what was MARGERET FLEMING considered at the time | “America’s first noble attempt at realism” - Psychological realism vs other kinds of realism |
| what play did herne go on to write that kinda just gave bc of yankee character and farmer vibes more successful tho | SHORE ANCHORS |
| Traditional Playwrights moving us closer to Realism | 4 - melodrama 1 - romantic drama 1- farce |
| William Gillette | melodrama actor + dramatist + playwright, most of what he wrote nothing to do w/ realism |
| why was gillette notable to realism | Sherlock Holmes - Realism of action Stage pictures and movements he worked out so that everyone was acting more realistically - Gillette himself was incredibly realistic for the time |
| Dion Boucicault | sentimental melodramas - Known for playing this very specific Irish character with an authentic dialect in The Shaughraun (Not historical accuracy, but giving as much detail as something historical to contemporary) |
| Augustine Daly | Attention to detail in writing these plays is what gives credibility to more realistic ideas - Still everyday people even in his spectacle, just in situations UNDER THE GASLIGHT (train track play) |
| Called “the dean of american drama” | Bronson Howard but also wtf does that mean |
| Our first truly professional playwright this is his main gig | Bronson Howard Bc of Shenandoah (putting civil war convos onstage) |
| howard Organized fellow playwrights into american dramatists club (forerunner of dramatist guild) | Responsible for U.S. accepting a royalty system |
| Shenandoah becomes one of first plays to | eceive royalty payments; Howard errands $10,000 |
| 1891 - U.S. accepts International | Copyright Law |
| George Henry Boker | romantic drama/tragdedy Notable writer bc fam was independently wealthy |
| Francesca Da Rimini - 1855 | boker notable play initial production not successful at all when remounted, huge success |
| Francesca Da Rimini - Tale | Paolo and Francesca (a great love story tale in england), best rendering of story in english or any other language Francesa daughter of lord married Giavani who had a deformed body and vengeful mind |
| Boker changed some stuff | basically made it more naturalisticBoker did not see himself as a forerunner of naturalism that’s just kinda how things worked out |
| Edward Harrigan and Tony Hart | Farce came from vaudeville (sketches + dances abt city life) |
| who would play the female in the harrigan hart duo | Hart would play the female i know what you are |
| how did harrigan and hart start writing plays | The duets and sketches led to longer and longer dialogues and then bam now enough material for a show |
| what characters were hart and harrigan most famous for | The Mulligan Guard - 100 nights in a row |
| what portrayels were hart and harrigan most famous for | Known for creating realistic portrayals of irish and german immigrants even in the farce - Being made fun of onstage now means we are apart of society - But then wealthier ppl loved to go and laugh |
| Brothers, Charles and Daniel Frohman led this endeavor | bussinessmen very little theater exp typically (but they had some), they're like wait let's buy theaters let's make a company |
| Theater monopoly by buying many theaters around the city and controlling what performances were allowed to be there | Development of the Syndicate - 1896 Charles most founder |
| how did they frohman brothers get their theaters | They enrolled the best playhouses they could get under their control and said u can book our plays exclusively and had a high booking fee |
| 1900 - Syndicate controls the American Theater | all outside NYC, NYC too many there So now people had to improvise to perform, do stuff in a hall Stifling of competition now we had cheapening of product |
| People Who Hate the Syndicate: | James Herne, James O’Neill, Joseph Jefferson 3, Sarah Bernhardt |
| who never gave into the syndicate | Belasco and Mrs. Fiske Opposition lasted for like 10 years |
| who broke the syndicate | 1905 - The Shuberts - Lowk just made their own version of the Syndicate - The theater still exists today |
| by 1913 what happens | The Syndicate’s full grip is broken!! - Hey cinemas! New kinds of entertainment they can no longer control |
| Frohman on the Lusitania | bombed in WW1 When he was on it When he went down so did the syndicate |
| William Winter | dramatic critic for The New York Tribune (1865 - 1909) 44 years |
| what kind of theater did winter not like despite his prominent voice at the time | naturalism thought ibsen's works were "filthy and morbid" anti-syndicate, ant-ibsen |
| what is winter credited with | being first theater critic |
Created by:
atallarida