Appendix I
Musicals Examined in This Dissertation
In Chapter Two
The International
January 12, 1928
J.H. Lawson
N.Y.: Macaulay, 1927.
Art is a Weapon
1931
Prolet-Buehne
English version printed in Workers Theatre, June 1931, pp. 15-17; reprinted in Samuel, pp. 301-305.
Sweet Charity
April 12, 1932
Book and lyrics by Jack Shapiro; music and additional lyrics by Ruth Burke.
The script for this show does not exist. I have partially reconstructed this show, using contemporaneous secondary materials, including references in magazines and reviews of the show, and from contemporary testimony from one of the show's participants, Earl Robinson.
In Chapter Three
Worlds Fair
July 30, 1933
Various authors and composers, performed by the Workers' Laboratory Theatre for the Daily Worker picnic at Pleasant Bay Park.
The script for this show does not exist. I have partially reconstructed this show, based on contemporaneous secondary sources, principally from an article in New Theatre magazine.
Who's Got the Baloney?
1933
Book and lyrics by Jack Shapiro; music by Ruth Burke
The script for this show does not exist. I have partially reconstructed this show, based on contemporaneous secondary sources, and from an interview of Earl Robinson.
Parade
May 20, 1935
Paul Peters and George Sklar, with additional material by Frank Gabrielson, David Lesan, and Emanuel Eisenberg; music by Jerome Moross.
Various copies of the typed manuscript, which was copyrighted in 1935 by Paul Peters, can be found at the Theatre Collection of the New York City Public Library at Lincoln Center.
In Chapter Four
Who Fights This Battle?
September 20, 1936
Kenneth White, words; Paul Bowles, music.
A typescript of this musical, retitled The Spanish Play, is available at the New York Public Library at Lincoln Center. White copyrighted the play under its original title on September 8, 1936; the play was never published, and White never renewed the copyright.
Johnny Johnson
A Fable of Ancient and Modern Times
November 19, 1936
Paul Green, book and lyrics; Kurt Weill, music.
Published version available in Paul Green, Five Plays of the South (New York: Hill and Wang, 1963), pp. 1-104.
Sit-Down!
April 3, 1937
William B. Titus.
A copyrighted typescript of Sit-Down! is available at the Tamiment Collection of Bobst Library at New York University and at the New York Public Library at Lincoln Center. The play was copyrighted by Brookwood Labor Productions, a Socialist institution in Katonah, New York, in 1937, and the copyright was never renewed.
The Cradle Will Rock
June 16, 1937 at the Venice Theatre Off-Broadway
January 3, 1938 at the Windsor Theatre on Broadway
Marc Blitzstein
Published versions available: Marc Blitzstein, The Cradle Will Rock (New York: Random House, 1938); William Kozlenko, ed., Best Short Plays of the Social Theatre (New York: Random House, 1939).
Pins and Needles
November 27, 1937
Harold Rome, words and music, mostly; additional material by various other writers and composers
The script of Pins and Needles no longer exists; I have reconstructed the show from the available published songs, contemporaneous secondary sources, programs and other primary material, and material from a road company stage-manager's prompt book that is available at the research department of the International Ladies' Garment Workers' Union in New York City.
In Chapter Five
Don't You Want to Be Free? (A Poetry Play)
"From
Slavery
Through
the Blues
To
Now--and then some!
With Singing, Music, and Dancing"
April 21, 1938
Langston Hughes.
Published versions of this script can be found in One Act Play Magazine, October 1938, 359-93, and in James V. Hatch, ed., Black Theatre U.S.A.: Forty-Five Plays by Black Americans, 1847-1974 (New York: Free Press, 1974), pp. 262-77.
Big Boycott of 1938
1938
Saul Aarons, music; Aarons, Joe Schmul, and Mike Stratton, lyrics.
Published version found in Contemporary Scene 1, no. 2 (Summer 1938), pp. 4-13.
The music, says a note on p. 13, can be found at the Cultural Department of the American League for Peace and Democracy, New York City Division -- 112 E. 19th St. NYC.
We Beg to Differ
1939, Montreal New Theatre
December 1939, Philadelphia New Theatre
Mel Tolkin, music and lyrics; Reuben Davis, book and lyrics.
The script for this show does not exist; however, the copyrighted music and lyrics (1939 by the New Theatre League) can be found in the Special Music Collection of the New York Public Library at Lincoln Center.
Middleman
Summer 1939
Author unknown.
The script for this show can be found in "The John Lenthier Troupe on Tour," New Theatre News 1, no. 5 (December 1939), pp. 12-15, which incorporates the script of Middleman; this article is reprinted in Taylor, pp. 172-77.
The Life in a Day of a Secretary
June 24, 1939
George Kleinsinger, music; Jay Williams and Alfred Hayes, book and lyrics.
An uncopyrighted and unpublished typescript of this show is available at the Special Music Collection of the New York City Public Library at Lincoln Center.
Peace in Our Time
1940
Various authors
An uncopyrighted and unpublished typescript of Peace in Our Time is available in the Theatre Collection of the New York City Public Library at Lincoln Center.
V For Victory
1941
Various authors and composers
A copyrighted and published version of this show is available at the Forty-Second Street branch of the New York City Public Library.
Appendix II
Lyrics from Sweet Charity
Boss:[1]
But times are very hard, you see,
And business is very bad,
And so I cut the workers' pay
It makes me feel so sad.
. . . . . . . . . .
You see, I know the trick
But now, good friends,
I am getting scared
He's turning Bolshevik!
Salvation Army Lass:
Good God, it makes me sick!
He's turning Bolshevik!
When he applies for relief, the Worker must answer questions:
Your name, your occupation?
Your age, your education?
your weight, your height?
Your hearing, your sight?
Your church affiliation?
Your history is quite hazy,
was your grandfather ever crazy?
Your hair, your eyes, your collar size?
Are you a criminal or lazy?
Do you know how to behave?
Why don't you try to save?
Do you like our institutions?
Do you uphold the constitution?
Have you got religion? have you joined the legion?
"Song of Charity"[2]
Lass:
Oh Mr. Worker, this is very sad
To add a strike to all our troubles.
That indeed is bad.
It isn't nice or Christian-like
For a working man to go on strike.
The boss, you know, is a noble fellow
And his heart is very mellow
So why not let him cut your pay?
He'll help you in another way.
He brings back sweet charity,
He helps bring back prosperity.
And though I'd like so much to help you
Alas, I can't. I've only help in heaven-sent calamities. And I'm afraid
Others:
Yes he's afraid!
Lass:
A strike is not
Others:
Indeed it's not
Lass:
Indeed it's not
No, no, it's not
An act of God!
No, no, that's true
A strike is not, indeed it's not
An act of God.
"Finale"[3]
Do you want milk for your hungry babies
Without any ifs or buts or maybes?
Join the militant workers!
Do you share with us our firm belief
That the unemployed should get relief?
Join the militant workers!
Lyrics from Who's Got the Baloney?
"I'm No Communist"
Robinson says that the song opens with La Guardia singing in the style of opera:
La Guardia:
Oh, what is Fusion?
It's a snare, a delusion.
Just an illusion
But it got the votes
"Now into the Gilbert and Sullivan," says Robinson:
I am the victim of a situation
Requiring a bit of explanation
I burn and blush for shame
For I've been called a name
A name that reddens my fair reputation.
Dear friends you cannot guess my consternation
As well as out of New York's population
The matter cannot wait
I have to put it straight
I trust you will withdraw your accusation.
"Then into jazz," Robinson says:
Now you can put me on the list
As a Tamanny man or a Socialist
I'll even shout "viva Fascist"
But, I'm no Communist!
I never have been known to shout
A Progressive or Republican
For I never know whether they be one
But, I'm no Communist.
Now you can trust me, gentlemen,
So please, relax.
The rich will get the interest
And the poor will pay the tax.
The working man will get it
Where the chicken got the ax.
For I'm no Communist!
The music plays "dit,da,dit,da,da," says Robinson, and "a line of dancing girls come bouncing out" singing:
Now you can put him on the list
As a Tamanny man or a Socialist
He'll even shout "viva Fascist"
But he's no Communist.
He never has been known to shout
A Progressive or Republican
For he never knows when he may be one
But, he's no Communist.
Now you gave red hot speeches, yeah,
They gave out sparks.
Though Robinson doesn't say so, presumably La Guardia begins singing again:
But you've no cause to doubt me
They were only boyish larks.
I haven't got a thing in common
With that guy called Marx.
For I'm no Communist![4]
In our little voting machine
We go up, up, up like a feather.
In our little voting machine
We will all be elected together."[5]
Bibliography
Articles from the Nineteen-Twenties and -Thirties:
Anderson, John. "Parade, Guild's Satire." New York Evening Journal, 21 May 1935.
Allen, Harbor (Paul Peters). "A Vigorous New Theatre." New Masses 1, no. 5 (September 1926): 22.
"Announcing a Playwriting Contest." Workers Theatre 5, nos. 7 and 8 (July-August 1933): 7.
Atkinson, Brooks. "Garment Specialty--Pins and Needles, Being a Night Out for Thirty-Two ILGWU Members." New York Times, 23 January 1938, sec. 11, p. 1.
________. "The Play: Jimmy Savo and Parade Introduce the Theatre Guild to Revelry." New York Times, 21 May 1935.
________. New York Times, 21 April 1939, p. 26.
Blake, Ben. "Stage in Review." New Theatre 3, no. 2 (January 1934): 11-12.
Blake (presumably). Untitled editorial. New Theatre 1, no. 6 [lacks numbering] (June 1934): 3-4.
Blankfort, Michael. "Facing the New Audience." New Theatre 1, no. 10 (November 1934): 25.
Bonn, John. "Dram Buro Report." Workers Theatre 2, no. 2 (May 1932): 7-10.
________. "Outline for an Elementary Course in Acting." New Theatre News 1, no. 3 (January-February 1939): 7-9.
________. "Situation and Tasks of the Workers' Theatres of the U.S.A." Workers Theatre 2, no. 3 (June-July 1932): 8.
________. "Situation and Tasks of Workers' Theatres in U.S.A." Workers Theatre 2, no. 5 (August 1932): 11.
Brown, John Mason. "In Praise of Pins and Needles." New York Post, 6 December 1937.
________. "The Play: The Theatre Guild Closes its Season by Presenting Jimmy Savo in Parade, a `Satirical Revue.'" New York Evening Post, 21 May 1935.
Buchwald, Nathaniel. "The Artef." Workers Theatre 2, no. 1 (April 1932): 5.
________. "The Judges Award." Workers Theatre 2, no. 2 (May 1932): 10-13.
________. "The Prize-Winners of the Spartakiade." Workers Theatre 2, no. 3 (June-July 1932): 10, 23.
________. "A Theatre Advancing." New Theatre 3, no. 2 (January 1934): 19-21.
"Cabaret TAC: America's First Political Cabaret to Spotlight the News instead of Nudes." TAC 1, no. 7 (February 1939): 16-17.
"Case of the Group Theatre." New Theatre and Film 4, no. 1 (March 1937): 51.
Chaplin, John R. "Midsummer Revue." New Theatre 2, no. 9 (September 1935): 21.
"Coast to Coast with the Groups." Workers Theatre 5, nos. 7 and 8 (July-August 1933): 18.
"Constitution of the League of Workers' Theatres of U.S.A." Workers Theatre 2, no. 2 (May 1932): 14.
Cooley, R. R. "A Revolutionary Circus." Workers Theatre 5, nos. 7 and 8 (September-October 1933): 13.
________. "Letter." New Theatre (September-October 1933): 27.
Cooper, Lou. New Theatre News 1, no. 10 (May 1940): 9.
"The Critics Say." New Theatre News 1, no. 2 (December 1938): 17.
"Curtain Calls." New Theatre News 1 (December 1939): 3-4, 10; New Theatre News 1, no. 7 (February 1940): 5; New Theatre News 1, no. 8 (March 1940): 4; New Theatre News 1, no. 11 (June 1940): 4.
Daily Worker, 23 September 1939; 2 March 1940.
Deacon, Ruth. "Letter." New Theatre News 1, no. 2 (December 1938): 4; "Philadelphia New Theatre Comes Through with a Hit." New Theatre News 1, no. 6 (January 1940): 4-5.
De Santes, L.A. "Letter." New Masses 5 (October 1929): 29.
Deutchman. "The Workers Theatre and the Boss System." Workers Theatre 1, no. 2 (May 1931): 5.
Dos Passos, John. "Did the New Playwrights' Fail?" New Masses (August 1929): 13.
"Dramatic Club of the South Philadelphia Pioneers." Workers Theatre 2, no. 5 (August 1932): 16.
Dreiblatt, Martha, "On the `New Theatres,'" New York Times, 16 April 1939, Sec. 10, p. 3.
"Editorial." Workers Theatre 2, no. 2 (May 1932): 3, 14; New Theatre (September-October 1933): 1.
"Editorials." New Theatre and Film 4, no. 1 (March 1937): 51.
E.F.M. "Boston Sees a Parade." New York Times, 12 May 1935, Sec. 10, p. 2.
Elion, Harry. "1933 and 1932--Two Workers' Theatre Spartakiades." Workers Theatre 5, no. 5 (May-June 1933): 2, 17.
________. "The Problems of Repertory." Workers Theatre 3, no. 3 (April 1933): 6.
Falkowski, Ed. "Workers' Art in Germany." New Masses 5, no. 7 (December 1929): 21.
Farmer, Mary Virginia. "Memorandum on Hedgerow." New Theatre 3, (October 1936): 13-15; in Kline: 79-83.
"Fifteen-Minute Red Revue Appears in June." Workers Theatre 2, no. 2 (May 1932): 13.
Flanagan, Hallie. "Scenery or No Scenery: A Symposium." Theatre Workshop 2, no. 1 (April-June 1938): 5-8.
________. "A Theatre is Born." Theatre Arts Monthly 15, no. 11 (November 1931): 908-915.
________. "The Writing on the Wall: Workers' Plays at Vassar College." Workers Theatre 2, no. 3 (June-July 1932): 4.
Fuman, Sylvia. "Letter." New Masses 5, no. 6 (November 1929): 21.
Gabriel, Gilbert W. New York American, 21 May 1935.
Garland, Robert. "Parade Makes Bow at Guild Theatre." New York World-Telegram, 21 May 1935.
Geer, Will. "Foreword." Skits and Sketches, 2nd collection. New York: New Theatre League, 1939: 4.
Gold, Michael. "A New Masses Theatre." New Masses (November 1927): 27.
________. "Strike!: A Mass Recitation." New Masses 1, no. 3 (July 1926): 19.
________. "A New Program for Writers." New Masses 5, no. 6 (January 1939): 21.
________. "Toward a Revolutionary Culture." New Masses 7, no. 2 (July 1931): 13.
G[ould], J[ack]. "New Pins and Needles." New York Times, 21 November 1939, p. 19.
________. "The Play." New York Times, 29 November 1937, p. 18.
"Groups in Action." Workers Theatre 2, no. 5 (August 1932): 18.
Hammond, Percy. "The Theatres." New York Herald Tribune, 21 May 1935.
Hilberman, Dave, and Henry Mitchell. "Creative Drama on the Ohio Relief March." New Theatre (September-October 1933): 11.
Howe, Ann. "Facts and Figures on the New York Competition." Workers Theatre 5, no. 5 (May-June 1933): 10.
Irwin, Ben. "Pins and Needles--Labor Stage." New Theatre 3, no. 7 (July 1936): 24 (also found in Kline: 95- 6); "The Resurgence of the New Theatre." Theatre Workshop 2, no. 1 (April-June 1938): 104-108.
Isaacs, Edith J.R. "Giants Win, Cubs Lose: Broadway in Review." Theatre Arts 21, no. 11 (November 1937): 835-844.
"The John Lenthier Troupe on Tour." New Theatre News 1, no. 5 (December 1939): 12-15.
Karnot, Stephen. "From a Director's Notebook." New Theatre 1, June 1934): 8; New Theatre 1 (July-August 1934): 13.
________. New Theatre 1, no. 8 (September 1934): 12-13.
Kreiter, Samuel. "The Artef." New Theatre 1 (November 1934): 21-22; in Kline: 89-91.
Landstreet, Barent F. "Little Theatres." Letter to Drama Editor. New York Times, 29 November 1936.
Lewis, George. "We Need Anti-War Plays." Workers Theatre 2, no. 5 (August 1932): 6.
"List of Available Plays." Workers Theatre 2, no 2 (June-July 1932): 2.
Lockridge, Richard. "The New Play: Parade, a Heavy-Handed Satirical Revue, Opens at the Guild Theatre." New York Sun, 21 May 1935.
________. "Pins and Needles, Leftist Revue, Opens at the Labor Stage." New York Sun, 29 November 1937, p. 49.
Mantle, Burns. "Labor Stage Troupe Romps Through New Pins and Needles." New York Daily News, 29 November 1937.
"Many Productions of Cradle Will Rock." New York Sun, 16 July 1938.
Marvin, Mark. "The New Theatre Conference." New Theatre 3, no. 4 (April 1936): 11.
________. "Prospects for the New Theatre." New Theatre 2, no. 9 (September 1935): 24.
________ (Presumably). "Theatre Workshop: A Prospect." Theatre Workshop 1, no. 1 (October 1936): 80-81.
________. "Training Begins with Self-Training." New Theatre News 1, no. 3 (January-February 1939): 3-4.
Mattila, Martin. "Finnish Art Groups." New Masses 5, no. 7 (December 1929): 20.
Maxwell, Bern. "Progressive Theatre Group's `Beg to Differ.'" Daily Worker, 29 February 1940.
Moross, Jerome. "New Musicals for Old." New Theatre 2, no. 10 (October 1935): 12-13, 33.
Musical Theatre Studio. Advertisement. New Theatre and Film 4, no. 1 (March 1937): 61.
Naly, J. "Lithuanian Art Federation." New Masses 6, no. 6 (November 1930): 20.
"Nazi But Nice." Announcement, New Theatre 3, no. 5 (April 1934): 11.
"New Theatre Night." Advertisement. New Theatre 2, no. 10 (October 1935): 2.
New Theatre School. Advertisement. Theatre Workshop 1, no. 1 (October 1936): 96.
"New Theatre School." New Theatre News 1, no. 3 (January-February 1939): 5-6.
New York Sun, 16 July 1938.
New York Times, 10 December 1932.
"News and Notes." Workers Theatre 2, no. 3 (June-July 1932): 22.
"News and Notes." New Theatre 3, no. 4 (March 1934): 21.
Nilsson, Harry. "Scandinavian Workers Clubs." New Masses 6, no. 4 (September 1930): 21.
Pack, Richard. "Patriots on the Project." New Theatre 3, no. 4 (April 1936): 5-6.
Peters, Paul. "In This Issue." New Masses 5, no. 6 (November 1929): 22.
Pendrell, Ernest. "Something New, They Say of `We Beg to Differ.'" Daily Worker, 15 December 1940.
"Philadelphia New Theatre Workshop." New Theatre News 1, no. 7 (February 1940): 11-12.
Porter, Esther. "Five Workers Theatres and One Dance Group." Workers Theatre 1, no. 1 (April 1931): 25.
Prentis, A. "Dos Passos on the Theatre." Workers Theatre 1, no. 3 (June 1931): 9.
"Prize Play Contest." New Theatre 1, no. 8 (September 1934): 26.
Pullman, "Comrade." "Workers' Cultural Federation of New York." Workers Theatre 2, no. 2 (May 1932): 13.
Reines, Bernard. Workers Theatre 2, no. 6 (September-October 1932): 3.
"Repertory Ramblings." New Theatre News 1, no. 4 (November 1939): 14-15.
Saul, Oscar. "Workers' Theatre from Coast to Coast." New Theatre (June 1934): 16, 19.
Saxe, Alfred. "A Play with Propaganda and Three Without." Workers Theatre 2, no. 5 (August 1932): 7-8.
________. "Scarlet Fever Criticism." Workers Theatre 2, no. 3 (June-July 1932): 5-7.
________. "Take Theatre to the Workers." New Theatre (June 1934): 5.
Scherson, C. "Letter from the Blue Blouses of Russia to the Workers' Laboratory Theatre." Workers Theatre 1, no. 1 (April 1931): 8.
Seeger, Charles. "On Proletarian Music." Modern Music 11, no. 3 (March-April 1934): 121-127.
Shapiro, J. "Building a Repertory for the Workers' Theatre." Workers Theatre 2, no. 3 (June-July 1932): 7.
Shaw, Irwin. "America Needs the Fine Arts Bill." Theatre Workshop 2, no. 1 (April-June 1938): 60-63.
"Shifting Scenes." New Theatre 1, no. 10 (November 1934): 23-24; New Theatre 2, no. 9 (September 1935): 25, 34; 2, no. 10 (October 1935): 30; New Theatre 3, no. 1 (January 1936): 32; New Theatre 3, no. 4 (April 1936): 40; New Theatre and Film 4, no. 1 (March 1937): 52; New Theatre News 1, no. 2 (December 1938): 20-22; New Theatre News 1, no. 3 (January-February 1939): 22-23.
Sterling, Philip. "Vaudeville Fights the Death Sentence." New Theatre 3, no. 2 (February 1936): 17-18, 30-31.
Strasberg, Lee. "Showing the Movie Screen a Thing or Two," Daily Worker, 5 January 1937, p. 7; found in Goldstein, 313.
Strauss, Theodore. "Road Presents: Or From Brakerods Through Canebrake and Now to Tobacco Road," New York Times, 21 January 1940, sec. 10, pp. 1-2.
"Strike Me Red." Advertisement, New Theatre 1, no. 10 (November 1934): 2.
"Strike Me Red." Drawing, New Theatre 3, no. 5 (April 1934): 9.
Thacher, Molly Day. "Anti-Nazi German Theatre in Yorkville, N.Y." New Theatre 2 (September 1935) [also in Kline: 91-92]; "New Theatre in Philadelphia." New Theatre 3, no. 2 (February 1936): 30.
Thomas, H. "Letter." New Masses 5, no. 6 (November 1929): 20.
"$200 Prize Play Contest Announcement." New Theatre 3, no. 11 (November 1936): 26.
"Training in Production." New Theatre News 1, no. 3 (January-February 1939): 10-14.
"Unions Announcing Dramatic Groups." New Theatre News 1, no. 2 (December 1938): 23.
Variety. 21 May 1935.
Von Wiegund, Charmion. "Playwright into Critic." New Theatre 3, no. 4 (April 1936): 35-36.
Ward, Lem. "Letter to the Editor." New Theatre News 1, no. 4 (November 1939): 12.
Watts, Richard. "Proletarian Fun." New York Herald Tribune, 13 December 1937.
Weinstein, Betty. "World Fair." New Theatre (September-October 1933): 14-17.
Welsh, E.R. "Twilight of the Gods." Letter to Drama Editor. New York Times, 22 November 1936; clippings, Lincoln Center.
Whipple, Sidney B. "The Rich Cleverly Satirized: Pins and Needles on Labor Stage Has Critic's Approval." New York World-Telegram, 30 December 1937.
"Workers' Theatre Correspondent for L.A. Rebel Players Blue Blouse." Workers Theatre 2, no. 5 (August 1932): 26(?).
Doctoral Dissertations:
Boshoff, Willem Hendrick. "American Drama Between the Wars (1919-1939): A Mirror of the Times." Ph.D. dissertation, University of South Africa, 1979.
Cartmell, Daniel J. "Stephen Sondheim and the Concept Musical." Ph.D. dissertation, University of California, 1983.
Cocchi, Jeanette Frances. "Lehman Engel's Criteria for Libretti as Applied to Four Musical Adaptations of Shakespeare's Plays on the Broadway Stage." Ph.D. dissertation, New York University, 1983.
Elam, Harry J., Jr. "Theatre for Social Change: The Artistic and Social Vision in Revolutionary Theatre in America, 1930-1970." Ph.D. dissertation, University of California--Berkeley, 1984.
Fleishhacker, Daniel J. "The Playwright as Propagandist: A Study of the Dramaturgy of Six Propaganda Plays of the American Theatre." Ph.D. dissertation, Michigan State University, 1966.
Frank, Felicia Nina Liss. "The Magazines Workers Theatre, New Theatre and New Theatre and Film as Documents of the American Left-Wing Theatre Movement of the Nineteen-Thirties." Ph.D. dissertation, City University of New York, 1976.
Fraser, Barbara Means. "A Structural Analysis of the American Musical Theatre Between 1955 and 1965: A Cultural Perspective." Ph.D. dissertation, University of Oregon, 1982.
Friedman, Daniel Howard. "The Prolet-Buehne: America's First Agit-Prop Theatre." Ph.D. dissertation, University of Wisconsin-Madison, 1979.
Gilroy, M. Nicholas. "The Political Character in Broadway Plays from 1929-1969." Ph.D. dissertation, New York University, 1970.
Graves, James Blackmon. "A Theory of Musical Comedy Based on the Concepts of Suzanne K. Langer." Ph.D. dissertation, University of Kansas, 1981.
Jenkins, Ronald Scott. "Representative Clowns: Comedy and Democracy in America." Ed.D. dissertation, Howard University, 1984.
Jorns, David Lee. "Manifestations of Theory and Technique from Three European Political Theatre Forms on the American Stage Between the World Wars." Ph.D. dissertation, U.C.L.A., 1973.
Kaye, Stephen Arnold. "The Rhetoric of Song: Singing Persuasion in Social-Action Movements." Ph.D. dissertation, University of Oregon, 1966.
Leiberman, Robbie. "'My Song is my Weapon': People's Songs and the Politics of Culture, 1946-1949." Ph.D. dissertation, University of Michigan, 1984.
McKay, Marilyn Louise. "The Relationship Between the Female Performer and the Female Character in the American Musical." Ph.D. dissertation, University of Georgia, 1983.
Reynolds, Richard Clay. "Stage Left: The Development of American Social Drama in the Thirties." Ph.D. dissertation, University of Tulsa, 1979.
Sherr, Paul Clinton. "Political Satire in the American Musical Theatre of the 1930's." Ph.D. dissertation, University of Pennsylvania, 1965.
Smith, Marion Monta. "Six Miles to Dawn: An Analysis of the Modern American Musical Comedy." Ph.D. dissertation, Cornell University, 1971.
Spurrier, James Joseph. "The Integration of Music and Lyrics with the Book in the American Musical." Ph.D. dissertation, Southern Illinois University at Carbondale, 1979.
Tally, Paul Myers. "Social Criticism in the Original Theatre Librettos of Marc Blitzstein." Ph.D. Dissertation, University of Wisconsin, 1965.
Thierfelder, William Richard, III. "The Art of Transformation: The Adaptation of Seven Modern Dramas into Works for the Musical Theatre." Ph.D. dissertation, St. John's University, 1979.
Zapell, Alice Lenore Kidwell. "The Effects of the Political Climate in the United States on the Treatment of Political Subjects in the American Theatre from 1920 to 1940." Ph.D. dissertation, University of Oregon, 1968.
Books:
Ash, Roberta. Social Movements in America. Chicago: Markham Publishing Company, 1972.
Atkinson, Brooks, and Albert Hirshfeld. The Lively Years, 1920-1973. New York: Associated Press, 1973.
Athearn, Robert G. The American Heritage New Illustrated History of the United States. Vol. 14. The Roosevelt Era. New York: Dell, 1963.
Beevor, Anthony. The Spanish Civil War (New York: Peter Bedrick Books, 1982), 132.
Baritz, Loren, ed. The American Left: Radical Political Thought in the Twentieth Century. New York: Basic Books, 1971.
Bartlett, F.C. Political Propaganda. 1940; rpt. New York: Octagon, 1973.
Bentley, Eric. The Theatre of Commitment. New York: Atheneum, 1967.
Bernays, Edward L. Propaganda. New York: Liveright, 1928.
Bernstein, Irving. The Lean Years: A History of the American Worker, 1920-1933. Boston: Houghton Mifflin, 1960.
Bigsby, C. W. E. Twentieth-Century American Drama; Volume I: 1900-1940. Cambridge: Cambridge University Press, 1982.
Blake, Ben. The Awakening of the American Theatre. New York: Tomorrow Publishers, 1935.
Bordman, Gerald. American Musical Comedy. New York: Oxford Press, 1982.
________. American Musical Theatre. New York: Oxford Univ., 1978.
________. American Operetta. New York: Oxford, 1981.
Bottomore, T. B. Critics of Society: Radical Thought in North America. New York: Pantheon, 1968.
Bowers, John Waite, and Donovan J. Ochs. The Rhetoric of Agitation and Control. Reading, Mass.: Addison-Wesley, 1971.
Bowles, Paul. Without Stopping. New York: Echo Press, 1972, 194.
Bradby, David, and John McCormick. People's Theatre. London: Croom Helm, 1978.
Bradby, David; James, Louis; Sharratt, Bernard, eds. Performance and Politics in Popular Drama: Aspects of Popular Entertainment in Theatre, Film, and Television, 1800-1976. London: Cambridge Univ., 1980.
Bragdon, Henry W., and Samuel P. McCutchen. History of a Free People. 5th Revised Edition. New York: Macmillan, 1961.
Brockett, Oscar G., Ed. Studies in Theatre and Drama. The Hague: Mouton, 1972.
Brown, Ben W. Theatre at the Left. Providence, R.I.: Bear Press, 1938.
Browne, Ray B., ed. Rituals and Ceremonies in Popular Culture. Bowling Green, Ohio: Bowling Green University Popular Press, 1980.
Carter, Huntly. The New Theatre and Cinema of Soviet Russia. International Publishers, 1925.
________. New Spirit in the Russian Theatre. New York: Brentano's, 1929.
Clurman, Harold. The Fervent Years. New York: Alfred A. Knopf, 1945.
Conkin, Paul K. The New Deal. New York: Thomas Y. Crowell Company, 1967.
Degler, Carl N. Out of Our Past: The Forces that Shaped Modern America. New York: Harper and Row, 1984.
Derber, Milton, and Edwin Young, Eds. Labor and the New Deal. Madison: University of Wisconsin, 1957; rpt. Da Capo Press, 1972.
Diggins, John P. The American Left in the Twentieth Century. New York: Harcourt, Brace, Jovanovich, 1973.
Doob, Leonard. Propaganda: Its Psychology and Technique. New York: Henry Holt and Company, 1935.
Draper, Theodore. The Roots of American Communism. New York: Viking, 1957.
Ellul, Jacques. Propaganda. Trans. Konrad Kellen and Jean Lerner. New York: Knopf, 1971.
Engel, Lehman. The American Musical Theatre, rev. ed. New York: Macmillan, 1975.
Ewen, David. The Story of America's Musical Theatre. New York: Chilton, 1968.
Fine, Sidney. Sit-Down: The General Motors Strike of 1936-1937. Ann Arbor: University of Michigan, 1969.
Flanagan, Hallie. Arena: The History of the Federal Theatre. New York: Benjamin Blom, 1940; rpt. 1965.
France, Richard. The Theatre of Orson Welles. Lewisburg: Bucknell University Press, 1977.
Foulkes, A.P. Literature and Propaganda. New York: Methuen, 1983.
Gagey, Edmond M. Revolution in American Drama. Freeport, New York: 1947; rpt. New World, 1971.
Gorchakov, Nikolai A. The Theatre of Soviet Russia. Trans. Edgar Lehrman. New York: Columbia University Press, 1957.
Gorelik, Mordecai. New Theatres for Old. New York: Samuel French, 1940.
Goldstein, Malcolm. The Political Stage. New York: Oxford University, 1974.
Gordon, Eric A. Mark the Music: The Life and Work of Marc Blitzstein. New York: St. Martin's Press, 1989.
Green, Stanley. Ring Bells, Sing Songs: Broadway Musicals of the 1930's. New Rochelle, New York: Arlington House, 1971.
Greenfield, Thomas Allen. Work and the Work Ethic in American Drama, 1920-1970. Columbia: University of Missouri, 1982.
Greer, Thomas H. American Social Reform Movements: Their Pattern Since 1865. New York: Prentice-Hall, 1949.
Gusfield, Joseph R. Protest, Reform, and Revolt: A Reader in Social Movements. New York: John Wiley and Sons, 1970.
Harter, D. Lincoln, and John Sullivan. Propaganda Handbook. Media, Pa.: 20th Century Publishing, 1953.
Hermassi, Karen. Polity and Theatre in Historical Perspective. Berkeley: University of California, 1977.
Hicks, Granville, et. al., eds. Proletarian Literature in the United States. New York: International Publishers, 1936.
Himelstein, Morgan Y. Drama Was a Weapon. New Brunswick, N.J.: Rutgers University Press, 1963.
Houghton, Norris. Moscow Rehearsals. New York: Harcourt, 1936.
Houseman, John. Run-Through. New York: Simon and Schuster, 1972.
Innes, Christopher. Holy Theatre: Ritual and the Avant Garde. New York: Cambridge University Press, 1981.
Johnpoll, Bernard K., with Lillian Johnpoll. The Impossible Dream: The Rise and Demise of the American Left. Westport, Connecticut: Greenwood Press, 1981.
Jowett, Garth S., and Victoria O'Donnell, Propaganda and Persuasion. Beverly Hills: Sage, 1986.
Kazan, Elia. A Life. New York: Alfred Knopf, 1988.
Kertzer, David I. Ritual, Politics, and Power. New Haven: Yale University Press, 1988.
Kislan, Richard. The Musical. Englewood Cliffs, N.J.: Prentice-Hall, 1980.
Klehr, Harvey. The Heyday of American Communism: The Depression Decade. New York: Basic Books, 1984.
Kempton, Murray. Part of Our Time: Some Ruins and Monuments of the Thirties. New York: Simon and Schuster, 1955.
Kline, Herbert, ed. New Theatre and Film, 1934 to 1937. New York: Harcourt, 1985.
Kornbluh, Joyce L. Rebel Voices: An I.W.W. Anthology. Ann Arbor: University of Michigan, 1964.
Kozlenko, William. The One-Act Play Today. New York: Harcourt, 1938.
Latham, Earl. The Communist Controversy in Washington: From the New Deal to McCarthy. Cambridge: Harvard University Press, 1966.
Lavery, Emmet. The Flexible Stage: The Federal Theatre in Profile. Unpublished Manuscript, Federal Theatre Project Collection at George Mason University Libraries.
Laufe, Abe. Broadway's Greatest Musicals. New York: Funk and Wagnall, 1977.
Lee, Alfred McClung. How to Understand Propaganda. New York: Rinehart and Company, 1952.
Lens, Sidney. Radicalism in America. New York: Thomas Y. Crowell Company, 1969.
Lerner, Alan Jay. The Musical Theatre: A Celebration. London: Collins, 1986.
Levine, Ira A. Left-Wing Dramatic Theory in the American Theatre. Ann Arbor, Mich.: UMI Research Press, 1985.
Lieberman, Robbie. "My Song Is My Weapon": People's Songs, American Communism, and the Politics of Culture, 1930-1950. Urbana, Ill: University of Illinois Press, 1989.
Litton, Glenn. "From The King and I to Sweeney Todd." Glenn Litton and Cecil Smith. Musical Comedy in America. New York: Theatre Arts Books, 1981.
Loney, Glenn, ed. Musical Theatre in America. Westport, Connecticut: Greenwood Press, 1984.
Madden, David, ed. Proletarian Writers of the Thirties. Carbondale: Southern Illinois University Press, 1968.
Mates, Julian. America's Musical Stage: Two Hundred Years of Musical Theatre. Westport, Connecticut: Greenwood Press, 1985.
________. The American Musical Stage Before 1800. New Brunswick, N.J.: Rutgers University Press, 1962.
Mathews, Jane De Hart. The Federal Theatre, 1935-1939: Plays, Relief, and Politics. Princeton, N.J.: Princeton University Press, 1967.
McConachie, Bruce A., and Daniel Friedman, eds. Theatre for Working-Class Audiences in the United States, 1830- 1980. Westport, Conn.: Greenwood Press, 1985.
McElvaine, Robert S. The Great Depression: America, 1929-1941. New York: Times Books, 1984.
McLean, Albert F. American Vaudeville as Ritual. Louisville: University of Kentucky, 1965.
Miller, Gerald R., and Herbert W. Simons, eds. Perspectives on Communication in Social Conflict. Englewood Cliffs, N.J.: Prentice-Hall, 1974.
Milne, Tom. Losey on Losey. (New York: 1968), 98.
Melucci, Alberto. Nomads of the Present: Social Movements and Individual Needs in Contemporary Society, ed. John Keane and Paul Mier. Philadelphia: Temple University Press, 1989.
Moore, Sally F., and Barbara G. Myerhoff, eds. Secular Ritual. Amsterdam, The Netherlands: Van Gorcum, Assen, 1977.
Mordden, Ethan. Better Foot Forward. New York: Grossman, 1976.
Nannes, Caspar H. Politics in the American Drama. Washington, D.C.: Catholic University Press, 1960.
O'Connor, John, and Lorraine Brown. Free, Adult, Uncensored: The Living History of the Federal Theatre Project. Washington, D.C.: New Republic Books, 1978.
Palmer, R.R., and Joel Colton. A History of the Modern World. 3rd Edition. New York: Alfred A. Knopf, 1968.
Perris, Arnold. Music as Propaganda: Art to Persuade, Art to Control. Westport, Connecticut: Greenwood Press, 1985.
Poggi, Jack. Theatre in America: The Impact of Economic Forces, 1870-1967. Ithaca, New York: Cornell University Press, 1968.
Qualter, Terence H. Opinion Control in the Democracies. London: Macmillan, 1985.
________. Propaganda and Psychological Warfare. New York: Random House, 1962.
Rabkin, Gerald. Drama and Commitment. Bloomington: Indiana University, 1964.
Rampersad, Arnold. The Life of Langston Hughes, Vol. 1. New York: Oxford, 1986.
Reynolds, R.C. Stage Left: The Development of American Social Drama in the Thirties. Troy, New York: Whitson Publishing, 1986.
Roberts, Ron E., and Robert Marsh Kloss. Social Movements: Between the Balcony and the Barricade. Saint Louis: The C.V. Mosby Company, 1974.
Samuel, Raphael, Ewan MacColl, and Stuart Cosgrove. Theatres of the Left, 1880-1935: Workers' Theatre Movements in Britain and America. Boston: Routledge and Kegan Paul, 1985.
Schechner, Richard, and Mady Schuman, eds. Ritual, Play, and Performance: Readings in the Social Sciences/Theatre. New York: Seabury Press, 1976,
Shaughnessy, James D., ed. The Roots of Ritual. Grand Rapids, Michigan: William B. Eerdmans Publishing Company, 1973.
Simon, Rita James, ed. As We Saw the Thirties: Essays on Social and Political Movements of a Decade. Urbana: University of Illinois Press, 1967.
Smiley, Sam. The Drama of Attack. Columbia: Univ. of Missouri, 1972.
Stewart, Charles, Craig Smith, and Robert E. Denton, Jr. Persuasion and Social Movements. Prospect Heights, Ill.: Waveland Press, 1984.
Stourac, Richard, and Kathleen McCreery. Theatre as a Weapon: Workers' Theatre in the Soviet Union, Germany, and Britain, 1917-1934. New York: Routledge and Kegan Paul, 1986.
Szanto, George H. Theater and Propaganda. Austin: Univ. of Texas, 1978.
Taylor, Karen Malpede. People's Theatre in Amerika. New York: Drama Book Publishers, 1972.
Thomson, Oliver. Mass Persuasion in History: A Historical Analysis of the Development of Propaganda Techniques. New York: Crane, Russak, and Company, 1977.
Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play. New York: Performing Arts Journal Publications, 1982.
Turner, Victor. The Ritual Process: Structure and Anti-Structure. Ithaca, New York: Cornell University Press, 1969.
Vaughn, Robert. Only Victims: A Study of Show Business Blacklisting. New York: G.P. Putnam's Sons, 1972.
Warren, Frank A. III. Liberals and Communism: The "Red Decade" Revisited. Bloomington: Indiana University Press, 1966.
Williams, Jay. Stage Left. New York: Charles Scribner's Sons, 1974.
Zeiger, Robert H. American Workers, American Unions, 1920- 1985. Baltimore: Johns Hopkins University Press, 1986.
Zuck, Barbara A. A History of Musical Americanism. Ann Arbor, Mich.: UMI Research Press, 1980.
Journal Articles and Other Scholarly Studies:
Altenbaugh, Richard. "Proletarian Drama: An Educational Tool of the American Labor College Movement." Theatre Journal 34, no. 2 (May 1982): 197-210.
Bentley, Eric. "Writing for a Political Theatre." Performing Arts Journal 26/27 9, nos. 2 and 3 (1985): 45-58.
Billington, Monroe. "The New Deal was a Joke: Political Humor During the Great Depression." Journal of American Culture 5, no. 3 (Fall 1982): 15-21.
Bowles, Stephen E. "Cabaret and Nashville: The Musical as Social Comment." Journal of Popular Culture 12 (Winter 1978): 550-556.
Brockett, Oscar G. "Poetry as Instrument." In Donald C. Bryant, ed., Papers in Rhetoric and Poetic. Iowa City: University of Iowa, 1965, pp. 15-25.
Browder, Earl. "The American Communist Party in the Thirties." In Simon, pp. 216-253.
Burgchardt, Carl R. "Two Faces of American Communism: Pamphlet Rhetoric of the Third Period and the Popular Front." Quarterly Journal of Speech 66 (1980): 375-391.
Burman, Howard, and Hanreddy, Joseph. "The Activist Theatre of the Thirties." Theatre Studies, no. 18 (1972/1972): 55-64.
Carter, David A. "The Industrial Workers of the World and the Rhetoric of Song." Quarterly Journal of Speech 66 (December, 1980): 365-374.
Clark, John R., and Morris, William E. "Scherzo, Forte, and Bravura: Satire in America's Musical Theatre." Journal of Popular Culture 12 (Winter 1978): 459-481.
Collins, Jim. "Toward Defining a Matrix of Musical Comedy: The Place of the Spectator Within the Textual Mechanisms." In Altman, Robert, ed. Genre: The Musical. Boston: Routledge and Kegan Paul, 1981, pp. 134-146.
Cornish, Roger. "Book Review." Theatre Journal 40, no. 4 (December 1988): 576-577.
Cosgrove, Stuart. "Cabaret and Counter-Culture: The Anti- Fascist Theatre in New York." Theatre Quarterly 10, no. 40 (Autumn-Winter 1981): 49-60.
________. "From Shock Troupe to Group Theatre." In Samuel, pp. 259-279.
________. "Prolet Buehne: Agit-Prop in America." In Bradby, pp. 201-212.
Cowser, R.L., Jr. "Broadway Retrogresses: The Bookless Musical." Journal of Popular Culture 12 (Winter 1978): 545-549.
Davies, Cecil W. "The Volksbuhne--A Descriptive Chronology." Theatre Quarterly 2, no. 5 (January-March 1972): 57-64.
Deer, Harriet, and Deer, Irving. "Musical Comedy: From Performer to Performance." Journal of Popular Culture 12 (Winter 1978): 406-421.
Donovan, Timothy. "Annie Get Your Gun: A Last Celebration of Nationalism." Journal of Popular Culture 12 (Winter 1978): 531-539.
________. "'Oh What a Beautiful Mornin': The Musical Oklahoma! and the Popular Mind in 1943." Journal of Popular Culture 8 (Winter 1974): 471-486.
Edwards, Scott. "Political Heroes and Political Education." North American Review 264 (Spring 1979): 8-13.
Elam, Harry J., Jr. "Ritual Theory And Political Theatre: Quinta Temporada and Slave Ship." Theatre Journal 38, no. 4 (December 1986): 463-472.
Engel, Lehman. "Musical Comedy in Need." World Theatre 15, no. 6 (November-December 1966): 501-510.
Feuer, Jane. "The Self-Reflective Musical and the Myth of Entertainment." Quarterly Journal of Film Studies 2 (August 1977) :313-26.
Friedman, Daniel. "A Brief Description of the Workers' Theatre Movement of the Thirties." In McConachie and Friedman, pp. 111-120.
Gassner, John. "The One-Act Play in the Revolutionary Theatre." Kozlenko, pp. 245-285.
________. "Politics and Theatre." Foreword in Himelstein, pp. vii-xiv.
________. "The Theatre." One-Act Play Magazine (October 1938): 426-428.
Goldman, Harry Merton. "Pins and Needles: A White House Command Performance." Educational Theatre Journal 30, no. 1 (March 1978): 90-101.
Goldman, Harry. "When Social Significance Came to Broadway: Pins and Needles in Production." Theatre Quarterly 12, no. 28 (Winter 1977-78): 25-42.
Goldman, Harry, and Gordon, Mel. "Workers' Theatre in America: A Survey 1913-1938." Journal of American Culture 1, no. 1 (Spring 1978): 169-181.
Goldstein, Malcolm. "The New Playwrights: Theatrical Insurgency in Pre-Depression America." Theatre Survey 2 (1961): 35-53.
Graves, James B. "The American Musical Comedy: A Theoretical Discussion." Journal of Popular Culture 19, no. 4 (Spring 1986): 17-26.
Harrison, John. "Man of La Mancha: Doddering Nausea or Craftsmanship?" Journal of Popular Culture 12 (Winter 1978): 540-544.
________. "Pal Joey Meets More Than His Match." Journal of Popular Culture 12 (Winter 1978): 526-530.
Hasbany, Richard. "The Musical Goes Ironic: The Evolution of Genres." Journal of American Culture 1 Spring 1978): 120-135.
Hicks, Granville. "Writers in the Thirties." In Simon, pp. 76-101.
Hirst, David. "The American Musical and the American Dream: From Show Boat to Sondheim." New Theatre Quarterly 1, no. 1 (February 1983): 24-38.
Holmberg, Carl Bryan. "Toward the Rhetoric of Music: Dixie." Southern Speech Communication Journal 51 (Fall 1985): 71-82.
Hunter, John O. "Marc Blitzstein's The Cradle Will Rock as a Document of America, 1937." American Quarterly 18 (Summer 1966): 227-233.
Ilkka, Richard. "Rhetorical Dramatization in the Development of American Communism." Quarterly Journal of Speech 63 (1977): 413-427.
Irvine, James R., and Kirkpatrick, Walter G. "The Musical Form in Rhetorical Exchange: Theoretical Considerations." Quarterly Journal of Speech 58 (1972): 272-284.
Jowett, Garth S. "Propaganda and Communication: The Re-emergence of a Research Tradition." Journal of Communication 37 no. 1, (Winter 1987): 97-114.
Killian, Lewis M. "Social Movements." Handbook of Modern Sociology, ed. Robert E. L. Faris. Chicago: Rand McNally, 1964, pp. 426-455.
Knapp, Margaret M. "Integration of Elements as a Viable Standard for Judging Musical Theatre." Journal of American Culture 1 (Spring 1978): 112-119.
________. "Theatrical Parodies in American Topical Revues." Journal of Popular Culture 12 (Winter 1978): 482-490.
Lamb, Andrew. "From Pinafore to Porter: United States-United Kingdom Interactions in Musical Theatre, 1879-1929." American Music 4 (Spring 1986): 34-49.
McDermott, Douglas "Agitprop: Production Practice in the Workers' Theatre, 1932-1942." Theatre Survey 7, no. 2 (November 1966): 115-124.
________. "New Theatre School, 1932-1942." Speech Teacher 14, no. 4 (November 1965): 278-285.
________. "The Odyssey of John Bonn: A Note on German Theatre in America." German Quarterly 28, no. 3 (May 1965): 325-334.
________. "Propaganda and Art: Dramatic Theory and the American Depression." Modern Drama 11, no. 1 (May 1968): 73-81.
________. "The Theatre Nobody Knows: Workers' Theatre in America, 1926-1942." Theatre Survey 1, no. 1 (May 1965): 65-82.
________. "The Workers' Laboratory Theatre: Archetype and Example." In McConachie and Friedman, pp. 121-142.
McGrath, John. "The Theory and Practice of Political Theory." Theatre Quarterly 9, no. 35 (Autumn 1979): 43-54.
Mendelsohn, Michael J. "The Social Critics on Stage." Modern Drama 6, no. 3 (Winter 1963): 277-285.
Nelson, Bruce. "Unions and the Popular Front: The West Coast Waterfront in the 1930s." International Labor and Working Class History, no. 30 (Fall 1986): 59-78.
Nord, David Paul. "Working Class Readers: Family, Community, and Reading in Late Nineteenth-Century America." Communication Research 13, no. 2 (April 1980): 156-181.
Palmer, Richard H. "Moral Re-Armament Drama: Right Wing Theatre in America." Theatre Journal 31, no. 2 (May 1979): 172-185.
Patrick, Robert, and William Haislip. "`Thank Heaven for Little Girls': An Examination of the Male Chauvinist Musical." Cinéaste 6 (1973): 22-25.
Phillipson, George. "Workers' Theatre: Forms and Techniques." Modern Drama 22, no. 4 (December 1979): 383-389.
Porter, Susan L. "English-American Interaction in American Musical Theatre at the Turn of the Nineteenth-Century." American Music 4 (Spring 1986): 6-19.
Rod, David K. "Trial by Jury: An Alternative Form of Theatrical Censorship in New York, 1921-1925." Theatre Survey 26, no. 1 (May 1985): 47-62.
Roffman, Frederick S. "They Sing the Body Elected: Campaign Politics and the Musical Stage." Program notes, Kennedy Center.
Rosenberg, Bruce. "Kennedy in Camelot: The Arthurian Legend in America." Western Folklore 35 (January 1976): 52-59.
Rosenfeld, Paul. "The One-Act Opera." One-Act Play Magazine (October 1938): 421-425.
Roth, Lane. "Folk Song Lyrics as Communication in John Ford's Films." Southern Speech Communication Journal 46 (Summer 1981): 390-396.
Roth, Mark. "Some Warners Musicals and the Spirit of the New Deal." The Velvet Light Trap, no. 17 (Winter 1977): 1-7; also in Altman, pp. 41-56.
Rush, David Alan. "A History and Evaluation of the ILGWU Labor Stage and its Production of Pins and Needles, 1937-1940." Unpublished Masters Thesis, University of Iowa, 1965.
Salerno, Henry F. "News and Comment: The Theatre and American Culture." Drama and Theatre 9 (Winter 1970- 71): 71-72.
Schechner, Richard. "Selective Inattention: A Traditional Way of Spectating, Now a Part of the Avant-Garde." Performing Arts Journal 1, no. 1 (Spring 1976): 8-19.
Shachtman, Max. "Radicalism in the Thirties: The Trotskyist View." In Simon, pp. 9-45.
Simons, Herbert W. "Requirements, Problems, and Strategies: A Theory of Persuasion for Social Movements." Quarterly Journal of Speech 66, no. 1 (February 1970): 1-11.
Simons, Herbert W., and Elizabeth W. Mechling, "The Rhetoric of Social Movements." In Dan D. Nimmo and Keith R. Sanders, Eds., Handbook of Political Communication. Beverly Hills: Sage, 1981: 417-444.
Smiley, Sam. "Thought as Plot in Didactic Drama." In Oscar G. Brockett, Ed. Studies in Theatre and Drama. The Hague: Mouton, 1972, pp. 81-96.
Sporn, Paul. "Working-Class Theatre on the Auto Picket Line." In McConachie and Friedman, pp. 155-170.
Sproule, J. Michael. "Propaganda Studies in American Social Science: The Rise and Fall of the Critical Paradigm." Quarterly Journal of Speech 73 (February 1987): 60-78.
Suvin, Darko. "Modes of Political Drama." Massachusetts Review 13 (Summer 1972): 309-324.
Thomas, Cheryl Irvin. "`Look What They've Done to my Song, Ma': The Persuasiveness of Song." Southern Speech Journal 3 (Spring 1974): 260-268.
Turner, Victor. "Social Dramas and Ritual Metaphors." In Richard Schechner and Mady Schuman, eds. Ritual, Play, and Performance, pp. 97-120.
________. "Variations on a Theme of Liminality." In Sally F. Moore and Barbara G. Myerhoff, eds. Secular Ritual, pp. 36-52.
Vallillo, Stephen M. "Broadway Revues in the Teens and Twenties: Smut and Slime?" Drama Review (T89) 25, no. 1 (March 1981): 25-34.
Vanderford, Marsha L. "Vilification and Social Movements." Quarterly Journal of Speech 75, no. 2 (May 1989): 166-182.
Wander, Philip. "The Aesthetics of Fascism." Journal of Communication 33, no. 2 (Spring 1983): 70-78.
Plays:
Bengal, Ben. Plant in the Sun. Poster; Free Library.
________. "Pop Comes Home." Program, from Three One-Act Plays; Free Library.
Bein, Albert. Let Freedom Ring. Program, Philadelphia New Theatre, May-June 1937; Free Library.
Bonn, John E. "15 Minute Red Revue." Workers Theatre 2, no. 3 (June-July 1932): 11-14.
Buchwald, Nathaniel. "Hands Off!" Workers Theatre 2, no. 3 (June-July 1932): 17-19.
Horgan, Paul. To Every Goliath. Program, Philadelphia New Theatre, 1938-39; Free Library.
Lawson, John Howard. Marching Song. Program, Philadelphia New Theatre, date unknown; Free Library.
Odets, Clifford. Waiting for Lefty. New Theatre 2, no. 2 (February 1935): 13-20.
________. Stevedore. Program, Garrick Theatre, Philadelphia, December 1934; Program, Philadelphia New Theatre, September 1935; Free Library.
Shaw, Irwin. Bury the Dead. New Theatre 3, no. 4 (April 1936): 15-34.
________. Bury the Dead. Program, Philadelphia New Theatre, 13 November 1937; Free Library.
"Three One-Act Plays." Program, Philadelphia New Theatre, January 1937; Free Library.
Corbin, Philip. "S.S. Liberty."
Egri, Lajos. "There Will be No Performance."
Bengal, Ben. "Pop Comes Home."
________. We Beg to Differ. Program, Philadelphia New Theatre, 12 January 1940; Free Library.
________. Inside America. Program, Philadelphia New Theatre, 1940; Free Library.
"Vote Communist." Workers Theatre 2, no. 3 (June-July 1932): 15-17.
The following books are of secondary importance, yet each offers valuable background information:
Altman, Robert, ed. Genre: The Musical. Boston: Routledge and Kegan Paul, 1981.
Bryant, Donald C., Ed. Papers in Rhetoric and Poetic. Iowa City: University of Iowa Press, 1965.
Clark, M.J., ed. Politics and the Media: Film and Television for the Political Scientist and Historian. New York: Pergamon, 1979.
Combs, James. Polpop: Politics and Popular Culture in America. Bowling Green, Ohio: Bowling Green University Popular Press, 1984.
Feuer, Jane. The Hollywood Musical. Bloomington: Indiana University Press, 1982.
Gassner, John. Directions in Modern Theatre and Drama. New York: Holt, Rinehart, and Winston, 1966.
Grimsted, David. Melodrama Unveiled: American Theatre and Culture, 1800-1850. Chicago: University of Chicago Press. 1968.
Gurevitch, Michael, Tony Bennett, James Curran, and Janet Woollacott, eds. Culture, Society and the Media. New York: Methuen, 1982.
Laufe, Abe. The Wicked Stage. New York: Frederick Ungar, 1978.
McGrath, John. A Good Night Out. London: Methuen, 1981.
Spindler, Michael. American Literature and Social Change: William Dean Howells to Arthur Miller. Bloomington: Indiana University Press, 1983.
See also M. Lawrence Miller, "Original Federal Theatre Project Protest Plays--1936-1939: The New Deal Contributions to the American Drama of Social Concern." Ph.D. dissertation, Univ. of California, L.A., 1968.
Toll, Robert C. On With the Show. New York: Oxford University Press, 1976.
The following articles are of secondary importance:
Adler, Thomas P. "The Musical Dramas of Stephen Sondheim: Some Critical Approaches." Journal of Popular Culture 12 (Winter 1978) :513-25.
Agresto, John. "Art and Historical Truth: The Boston Massacre." Journal of Communication 29, no. 4 (Autumn 1979) :170-174.
Altman, Rick. "The American Film Musical: Paradigmatic Structure and Mediatory Function." Wide Angle 2 (January 1978): 10-17; also in Altman, pp. 197-207.
Bardsley, Barney. "How Did Art Get to Be So Dangerous." Drama, no. 156 (2nd quarter 1985), pp. 21-23.
Bargainnier, Earl F. "The American Musical in the 1970s." Kansas Quarterly 12, no. 4 (Fall 1980) :111-122.
Bennett, Tony. "Media, 'Reality,' Signification." in Gurevitch, et. al. pp. 287-308.
Blumler, Jay G., and Michael Gurevitch. "The Political Effects of Mass Communication." in Gurevitch, et. al., pp. 236-67.
Collins, Jim. "Toward Defining a Matrix of Musical Comedy: The Place of the Spectator Within the Textual Mechanism." In Altman, pp. 134-146.
De Marinis, Marco. "Theatrical Comprehension: A Socio- Semiotic Approach." trans. Giovanna Covi, Theatre 15 (Winter 1983) :12-17.
Fedder, Norman J. "Beyond Absurdity and Sociopolitics: The Religious Theatre Movement in the Seventies." Kansas Quarterly 12, no. 4 (Fall 1980), :123-131.
Feuer, Jane. "The Theme of Popular vs. Elite Art in the Hollywood Musical." Journal of Popular Culture 12 (Winter 1978) :492-99.
Fischer, Lucy. "The Image of Woman as Image: The Optical Politics of Dames." Film Quarterly 30 (Fall 1976) :2- 11; also in Altman, pp. 70-84.
Fledelius, Karsten. "Film Analysis: The Structural Approach." in M.J. Clark, pp. 105-25.
Gottfried, Martin. "Why is Broadway Music so Bad?" Yale/Theatre 4 (Summer 1973) :82-93.
Hall, Stuart. "The Rediscovery of 'Ideology': Return of the Repressed in Media Studies." in Gurevitch, et. al., pp. 56-90.
Hark, Ina Rue. "Stop the World, I Want to Get Off: The Vice as Everyman." Comparative Drama 12 (Summer 1978) :99-112.
Harris, Laurilyn J. "Extravaganza at Niblo's Garden: The Black Crook." Nineteenth Century Theatre Research 13, no. 1 (Summer 1985) :1-16.
Kamarck, Edward. "Issues Facing the Arts Today." Arts in Society 13, no. 1 (Spring/Summer 1976) :118-125.
Lambert, J.W. "Politics and the Theatre." Drama, no. 124 (Spring 1977), pp. 12-28.
Marowitz, Charles. "Playing to the House." Contemporary Review 237, no. 1374 (July 1980) :38-41.
Masson, Alain. "George Sidney: Artificial Brilliance / The Brilliance of Artifice." trans. Liz Heron, Positif, no. 180 (April 1976), pp. 48-54: also in Altman, pp. 28-40.
Rod, David K. "Kenneth Burke and Susanne K. Langer on Drama and its Audiences." Quarterly Journal of Speech 72, no. 3 (August 1986) :306-317.
Schick, Suzanne C. "Propaganda Analysis: The Search for an Appropriate Model." ETC 42, no. 1 (Spring 1985) :63-71.
Schlozman, Kay Lehman. "Coping with the American Dream: Maintaining Self-Respect in an Achieving Society." Politics and Society 6 (1976) : 241-63.
Schroth, Evelyn. "Contemporary Interpretation of Arthur in 'Sens' and 'Matiere.'" Journal of Popular Culture 17, no. 2 (Fall 1983) :31-43.
Solich, Wolfgang. "The Theatre du Soleil's Mephisto and the Problematics of Political Theatre." Theatre Journal 38, no. 2 (May 1986) :137-153.
States, Bert O. "Phenomenology of the Curtain Call." Hudson Review 34 (Autumn 1981) :371-380.
Sutton, Martin. "Patterns of Meaning in the Musical." in Altman, pp. 190-196.
Webb, Richard C. "Towards a Popular Theatre: Le Grand Magic Theatre." Journal of Popular Culture 9, no. 4 (Spring 1976) :840-850.
Wood, Robin. "Art and Ideology: Notes on Silk Stockings." Film Comment 11 (May-June 1975) :28-31; also in Altman, pp. 57-69.
Woollacott, Janet. "Messages and Meanings." in Gurevitch, et. al., pp. 91-112.
The following dissertations are of secondary importance:
Alkire, Stephen Robert. "The Development and Treatment of the Negro Character as Presented in the American Musical Theatre, 1927-1968." Ph.D. dissertation, Michigan State University, 1972.
Cartmell, Daniel J. "Stephen Sondheim and the Concept Musical." Ph.D. dissertation, University of California, 1983.
Comer, Irene Forsyth. "'Little Nell and the Marchioness': Milestone in the Development of American Musical Comedy." Ph.D. dissertation, Tufts University, 1979.
Denhardt, Gregory Chris. "The Director-Choreographer in the American Musical Theatre." Ph.D. dissertation, University of Illinois, Urbana-Champaign, 1978.
Friedman, Harry. "The Contributions of Henry Bache Smith (1860-1936) to the American Musical Theater." Ph.D. dissertation, New York University, 1976.
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An attempt to develop a method of making more tangible the values of any past or present culture.
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[1]Nathaniel Buchwald,
"The Prize-Winners of the Spartakiade, Workers Theatre 2, no.
3 (June-July 1932); the last five lines of this song come from page 23 of
Buchwald's article, while the rest of the lines come from page 10.