How Did World War I I Affect The Theatre

How did World War How did World War II affect the Theatre II affect the Theatre and Performance?and Performance?

Consequences of WarConsequences of War

Many theatres, especially throughout London had to Many theatres, especially throughout London had to close as a result of the War, because of air raids, close as a result of the War, because of air raids, heavy bombings and blackouts.heavy bombings and blackouts.

A lot of paint and materials were rationed during the A lot of paint and materials were rationed during the war and for some years after it, making it difficult to war and for some years after it, making it difficult to put on a production.put on a production.

ENSAENSA

Entertainments Entertainments National Service National Service Association.Association.

It’s main purpose It’s main purpose was to provide was to provide entertainment for entertainment for HM forces and for HM forces and for munitions munitions workers.workers.

Creator-Basil DeanCreator-Basil Dean

First show was First show was

performed on 10performed on 10thth

December 1939 in December 1939 in

CamberleyCamberley

First overseas show took place on 15First overseas show took place on 15thth November 1939 in Douia, FranceNovember 1939 in Douia, France

Some people involved Some people involved

in ENSA were – in ENSA were –

Frances Day, Joyce Frances Day, Joyce

Grenfell, Arthur Grenfell, Arthur

Riscoe and Beatrice Riscoe and Beatrice

Lillie.Lillie.

ENSA pulled down ENSA pulled down

the curtain in July the curtain in July

19461946

Politics and Theatre – Politics and Theatre – ‘Theatre union’‘Theatre union’

Manifesto – The theatre needed to face up to the Manifesto – The theatre needed to face up to the problems and danger of war and fascism.problems and danger of war and fascism.

The democratic people were forced into action, they The democratic people were forced into action, they found the best way voice their views on war, peace found the best way voice their views on war, peace and progress was through drama.and progress was through drama.

‘‘Theatre union’ was Manchesters contribution to the Theatre union’ was Manchesters contribution to the cultural forces of democracy, they set themselves cultural forces of democracy, they set themselves the task of establishing a theatre unit, complete with the task of establishing a theatre unit, complete with producers, actors, artists and writers.producers, actors, artists and writers.

By doing this they were ensuring the future of By doing this they were ensuring the future of theatre.theatre.

Politics and the TheatrePolitics and the Theatre Ewan MacColl / Jimmie Miller was a play writer and political Ewan MacColl / Jimmie Miller was a play writer and political

activist who led ‘Theater of Action’, which later became activist who led ‘Theater of Action’, which later became ‘Theatre Workshop’, with the help of Joan Littlewood.‘Theatre Workshop’, with the help of Joan Littlewood.

‘‘Theatre of Action’ promoted his own national version of Theatre of Action’ promoted his own national version of the ‘German agitprop troupes’ originally from the russian the ‘German agitprop troupes’ originally from the russian revolution, he called it ‘Red megaphones’.revolution, he called it ‘Red megaphones’.

They turned up on street corners, with They turned up on street corners, with

megaphones, singing.megaphones, singing.

There job was to diseminate news There job was to diseminate news

of resistance to Hitler.of resistance to Hitler.

Joan LittlewoodJoan Littlewood

Joan was one of the most influencial Joan was one of the most influencial theatre directors at this time.theatre directors at this time.

She founded ‘theatre workshop’, along She founded ‘theatre workshop’, along with Jimmie Miller.with Jimmie Miller.

Her ‘theatre workshop’ entertained Her ‘theatre workshop’ entertained orphaned children freed from Nazi orphaned children freed from Nazi camps. camps.

Her group proposed an anti-atom-bomb play – Her group proposed an anti-atom-bomb play – ‘Uranium 235’.‘Uranium 235’.

Theatre workshop wasTheatre workshop was

Europe’s most outstanding Europe’s most outstanding

group theatre, with a group theatre, with a

sensational success of thesensational success of the

‘ ‘51 Edinburgh Festival.51 Edinburgh Festival.

‘‘Uranium 235’ was a modern Uranium 235’ was a modern

morality play for the atomic morality play for the atomic

era.era.

““The most exciting Theatre The most exciting Theatre

group I have ever seen”group I have ever seen”

Post War and the ‘Old Vic’Post War and the ‘Old Vic’● ● The ‘Old Vic’ was the only theatre that stayed open at the The ‘Old Vic’ was the only theatre that stayed open at the

height of the german blitz.height of the german blitz.

● ● Donald Wolfit tried to keep the Donald Wolfit tried to keep the Theatre Theatre alive by putting on alive by putting on afternoon showings, afternoon showings, but most of the but most of the English theatre life was English theatre life was demolished. demolished.

● ● After the war the ‘Old Vic’ along After the war the ‘Old Vic’ along with the with the shakespeare festival shakespeare festival company became the company became the most most respected theatrical groups in respected theatrical groups in England.England.

● ● The ‘Old Vic’ returned to London in 1944 after spending many years inThe ‘Old Vic’ returned to London in 1944 after spending many years in

the provinces.the provinces.

● ● The management of the ‘Old Vic’ was passed onto The management of the ‘Old Vic’ was passed onto Lawrence Olivier, Ralph Richardson and John Burell.Lawrence Olivier, Ralph Richardson and John Burell.

● ● After 1948 Olivier and Richardson spent more time on After 1948 Olivier and Richardson spent more time on other commitments therefore the ‘Old Vic’ started to other commitments therefore the ‘Old Vic’ started to decline and the management was passed onto Hugh Hunt decline and the management was passed onto Hugh Hunt who had spent many years as a director there.who had spent many years as a director there.

As the ‘Old Vic’ declined, the As the ‘Old Vic’ declined, the Stratford festival company gained Stratford festival company gained more power and respect in the more power and respect in the theatre world and reviews from theatre world and reviews from Stratford were starting to Stratford were starting to overpower those of the ‘Old Vic’.overpower those of the ‘Old Vic’.

● ● As more festivals such as Edinburgh, As more festivals such as Edinburgh, Chichester, Canterbury and Chichester, Canterbury and Aldeburgh started to gain power, Aldeburgh started to gain power, British Theatre by 1960 had become British Theatre by 1960 had become one of the best in the world.one of the best in the world.

ConclusionConclusion

What does theatre do for history?What does theatre do for history? It can capture moments of history in performance.It can capture moments of history in performance. It represents and reflects the feelings and emotions It represents and reflects the feelings and emotions

of the performers and the audience at the certain of the performers and the audience at the certain times.times.

And what does history do for theatre?And what does history do for theatre? History influences the theatre through politics and History influences the theatre through politics and

events that have happened.events that have happened. The theatre and play-wrights are inspired by historic The theatre and play-wrights are inspired by historic

events and different periods through time.events and different periods through time. The circumstances at the time will effect the way a The circumstances at the time will effect the way a

production is run.production is run.

SourcesSources www.googleimages.co.ukwww.googleimages.co.uk www.billyscarrow.co.uk/waryearswww.billyscarrow.co.uk/waryears www.bbc.co.uk/ww2peopleswarwww.bbc.co.uk/ww2peopleswar Digging up the stories, By James ThompsonDigging up the stories, By James Thompson Joan’s book, By Joan LittlewoodJoan’s book, By Joan Littlewood Agit-prop to the Theatre Workshop, By Howard Agit-prop to the Theatre Workshop, By Howard

Goorney and Ewan MacCollGoorney and Ewan MacColl History of the Theatre, By Oscar G. BrockettHistory of the Theatre, By Oscar G. Brockett