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Class divisions on the Broadway stag...

Schwartz, Michael, (1963 Oct. 18-)

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Class divisions on the Broadway stage = the staging and taming of the I.W.W. /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Class divisions on the Broadway stage/ Michael Schwartz.
其他題名:	the staging and taming of the I.W.W. /
作者:	Schwartz, Michael,
出版者:	Basingstoke :Palgrave Macmillan : : 2014.,
面頁冊數:	208 p.
附註:	Electronic book text.
內容註:	1. To Stop the World: The Most Stupendous Impossibles 2. Where Do I Get Off At? The Wobblies Spurns the Hairy Ape 3. No Kick Coming: The Romantic Wobbly of Sidney Howard's They Knew What They Wanted 4. Jazzing the Wobblies: John Howard Lawson's Processionals 5. Dead Hand of the Dead: Anderson and Hickerson's Gods of the Lightning 6. We Even Sing 'em in Jap and Chink: Upton Sinclair's Workers' Theater Contribution 7. You I-Won't Work Harp: I.W.W. Elegy in The Iceman Cometh 8. Postscript: Not Time Yet.
標題:	American drama - History and criticism - 20th century. -
電子資源:	http://link.springer.com/10.1057/9781137353054Online journal 'available contents' page
ISBN:	1137353058 (electronic bk.) :

Class divisions on the Broadway stage = the staging and taming of the I.W.W. /
Schwartz, Michael,1963 Oct. 18-

Class divisions on the Broadway stagethe staging and taming of the I.W.W. /[electronic resource] :Michael Schwartz. - 1st ed. - Basingstoke :Palgrave Macmillan :2014. - 208 p. - Palgrave studies in theatre and performance history.

Electronic book text.

1. To Stop the World: The Most Stupendous Impossibles 2. Where Do I Get Off At? The Wobblies Spurns the Hairy Ape 3. No Kick Coming: The Romantic Wobbly of Sidney Howard's They Knew What They Wanted 4. Jazzing the Wobblies: John Howard Lawson's Processionals 5. Dead Hand of the Dead: Anderson and Hickerson's Gods of the Lightning 6. We Even Sing 'em in Jap and Chink: Upton Sinclair's Workers' Theater Contribution 7. You I-Won't Work Harp: I.W.W. Elegy in The Iceman Cometh 8. Postscript: Not Time Yet.

Document

Examining twenty-five years of theatre history, this book covers the major plays that feature representations of the Industrial Workers of the World. American class movement and class divisions have long been reflected on the Broadway stage and here Michael Schwartz presents a fresh look at the conflict between labor and capital.Examining twenty-five years of theatre history, this book covers the major plays that feature representations of the Industrial Workers of the World (I.W.W.), or Wobblies. American class movement and class divisions have long been reflected on the Broadway stage and, through the lens of the I.W.W., Michael Schwartz presents a fresh look at the conflict between labor and capital. From O'Neill's The Hairy Ape; Sidney Howard's They Knew What They Wanted; John Howard Lawson's Processional; Harold Hickerson and Maxwell Anderson's Gods of the Lightning; and Upton Sinclair's Singing Jailbirds in the 1920s to O'Neill's The Iceman Cometh in 1946, Schwartz traces the plays' impact of I.W.W. as an actual agent for workers' rights and social change as well as the popular image of the Wobbly - how audiences saw Wobblies and what role they played in audience imagination.

PDF.

Michael Schwartz is Assistant Professor of Theatre at Indiana University of Pennsylvania, USA and the author of Broadway and Corporate Capitalism: The Rise of the Professional Managerial Class 1900-1920 (2009).

ISBN: 1137353058 (electronic bk.) :£55.00Subjects--Corporate Names:

775048
Industrial Workers of the World
--History.Subjects--Topical Terms:

1956612
American drama
--History and criticism--20th century.

LC Class. No.: PS338.I58 / S37 2014

Dewey Class. No.: 792.088

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520 1 $a In this illuminating study, Michael Schwartz provides vivid insights into the ways in which the Wobblies, a fabled crew of labor campaigners, were depicted on the Broadway stage. Schwartz colorfully demonstrates how Wobblies were evoked through individual characters, plot devices, and music. Through its fine storytelling and cogent analyses, Class Divisions on the Broadway Stage reveals a largely hidden part of American theatrical and labor history. - William A. Everett, University of Missouri, Kansas City, USA.
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