post war theatre

““HISTORY MAP”HISTORY MAP”

POST-II WORLD WAR POST-II WORLD WAR THEATRETHEATRE

EXTENDED VERSIONEXTENDED VERSION

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.

1941, German air force dropped bombs on London 1941, German air force dropped bombs on London and other major cities in great Britain, over 30.0000 and other major cities in great Britain, over 30.0000 Londoners die…Londoners die…

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

1926 THE GREAT STRIKE1926 THE GREAT STRIKEInitiated in defence of miners' wages Initiated in defence of miners' wages and hours...and hours...

Political Theatre from the late 20‘sPolitical Theatre from the late 20‘s TIMES OF DEPRESSION, HIGH UNEMPLOYMENT AND POVERTY, DISCONTENT AND STRUGGLE…AFTER THE GREAT STRKE MANY PEOPLE REMAINED UNEMPLOYED.TIMES OF DEPRESSION, HIGH UNEMPLOYMENT AND POVERTY, DISCONTENT AND STRUGGLE…AFTER THE GREAT STRKE MANY PEOPLE REMAINED UNEMPLOYED. AIM TO SEEK A RADICAL CHANGE AND SOLUTION TO THE INJUSTICES OF AIM TO SEEK A RADICAL CHANGE AND SOLUTION TO THE INJUSTICES OF CAPITALISM SYSTEM AND THE RISE OF FASCISM ALL OVER EUROPE.CAPITALISM SYSTEM AND THE RISE OF FASCISM ALL OVER EUROPE. EXPRESSION TROUGH THEATRE, MANIFESTATION IN ALTERNATIVE WAYS, rejecting completely all the theatrical conventions at the times was directly agitational lead to the..EXPRESSION TROUGH THEATRE, MANIFESTATION IN ALTERNATIVE WAYS, rejecting completely all the theatrical conventions at the times was directly agitational lead to the.. “ “ WORKERS THEATRE MOVEMENT” A LEFT WING THEATRE, OF THE WORKING CLASS.WORKERS THEATRE MOVEMENT” A LEFT WING THEATRE, OF THE WORKING CLASS. using street agit- prop style, later on, giving way to indoor theatre, with full- length plays and consequently the need to improve the artistic and technical levels of performance.using street agit- prop style, later on, giving way to indoor theatre, with full- length plays and consequently the need to improve the artistic and technical levels of performance.

(news paper) OFFICIAL ORGAN OF THE WORKERS' THEATRE MOVEMENT

WORKERS THEATRE MOVEMENTWORKERS THEATRE MOVEMENT1928-38 1928-38

“STILL TALKING“STILL TALKING”” An interior of a hall become an An interior of a hall become an

improvised stage, no props, costumes improvised stage, no props, costumes or décor, or special lighting.. that was or décor, or special lighting.. that was an intrinsic part of the dramatic an intrinsic part of the dramatic situation.. basically two people looking situation.. basically two people looking like any other two people in the hall, like any other two people in the hall, suddenly confronted the audience.. the suddenly confronted the audience.. the play starts; conceived as an open play starts; conceived as an open ended" happening” at a political ended" happening” at a political meeting. Actors will become political meeting. Actors will become political orators…orators…

Agit-prop theatreAgit-prop theatre Red megaphones, wasRed megaphones, was

an agit prop troupe an agit prop troupe (1930) members of the (1930) members of the w.t.m with radical left-w.t.m with radical left-wing political ideas…wing political ideas…they performed several they performed several parodies of popular parodies of popular songs and anti-war agit songs and anti-war agit prop style sketches. prop style sketches.

Theatre was taking to a Theatre was taking to a non theatrical venues; non theatrical venues; halls, pubs, community halls, pubs, community centers, places of work centers, places of work and on the streets and on the streets

after they will change after they will change the name to the name to theatre of theatre of actionaction (1934) (1934)

Agitprop Agitprop comes from comes from Russian language. Russian language. ((АгитпропАгитпроп) “) “agitagitation and ation and proppropaganda” especially aganda” especially pro-communist political pro-communist political propaganda disseminated propaganda disseminated through literature, drama, through literature, drama, music, or art. music, or art.

propagandapropaganda used in the used in the soviet union during the II soviet union during the II world war, to influence world war, to influence and mobilize public and mobilize public opinion…opinion…

Agitprop style its used Agitprop style its used against today's targets, against today's targets, big government and big big government and big business"business" (George F. (George F. Will).Will).

PRE-WAR PRE-WAR THEATRE THEATRE

MOVEMENT, MOVEMENT, “THEATRE UNION” “THEATRE UNION”

1936-45 1936-45 Manchester.Manchester.

Jhon bullion, Fuente Jhon bullion, Fuente ovejuna, Miracle at ovejuna, Miracle at verdum…were verdum…were another productions another productions from theatre union from theatre union with politics with politics messages.messages.

1945 manifesto1945 manifesto

Joan Littlewood 1914-2002Joan Littlewood 1914-2002

Joan was one of the Joan was one of the most influential most influential theatre directors in theatre directors in Britain. 1930-75 Britain. 1930-75 (active)(active)

She joined initially She joined initially theatre of action in theatre of action in 1934 called later 1934 called later theatre union 1936.theatre union 1936.

She founded She founded “theatre workshop” “theatre workshop” in 1945, along with in 1945, along with Jimmie Miller ( Ewan Jimmie Miller ( Ewan mccoll )mccoll )

Her most celebrated creation was , Her most celebrated creation was , “oh what a lovely war”, a satire on “oh what a lovely war”, a satire on world war I( against war in general) world war I( against war in general) produce by theatre workshop and produce by theatre workshop and staged at the theatre royal in 1963.staged at the theatre royal in 1963.

It broke the mould It broke the mould of British drama of British drama (bbc news)(bbc news)

POST WAR “THEATRE POST WAR “THEATRE WORKSHOP”WORKSHOP”

19451945 Theatre workshop , was a Theatre workshop , was a popular working class theatre popular working class theatre lead by Joan littlewood and lead by Joan littlewood and Ewan mcoll, inspired some of Ewan mcoll, inspired some of the pioneers of the political the pioneers of the political theatre in the lates 60’s and theatre in the lates 60’s and 80’s..80’s..

1945 post-war ‘theatre 1945 post-war ‘theatre workshop’ entertained workshop’ entertained orphaned children freed from orphaned children freed from Nazi camps. Nazi camps.

‘‘Uranium 235’ was a modern Uranium 235’ was a modern morality play for the atomic morality play for the atomic era. ( ANTI- BOMB PLAY)era. ( ANTI- BOMB PLAY)

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.

(Press)(Press)

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.

Conclusion IIConclusion IIHOW CAN THE THEATRE BE ENTERTAINING AND INSTRUCTIVE HOW CAN THE THEATRE BE ENTERTAINING AND INSTRUCTIVE

AT THE SAME TIME? HOW CAN IT BE TAKEN OUT OF THE AT THE SAME TIME? HOW CAN IT BE TAKEN OUT OF THE HANDS OF INTELLECTUAL DRUG TRAFFIC AND BECOME A HANDS OF INTELLECTUAL DRUG TRAFFIC AND BECOME A

PLACE OFFERING REAL EXPERIENCES RATHER THAN PLACE OFFERING REAL EXPERIENCES RATHER THAN ILLUSIONS? HOW CAN THE UNLIBERATED AND UNKNOWING ILLUSIONS? HOW CAN THE UNLIBERATED AND UNKNOWING MAN OF OUR CENTURY WITH HIS THIRST FOR KNOWLEDGE MAN OF OUR CENTURY WITH HIS THIRST FOR KNOWLEDGE

AND FREEDOM, THE TORTURED AND HEROIC, MISUSED AND FREEDOM, THE TORTURED AND HEROIC, MISUSED AND INVENTIVE MAN OF OUR TERRIBLE AND GREAT AND INVENTIVE MAN OF OUR TERRIBLE AND GREAT CENTURY, HIMSELF CHANGEABLE AND YET ABLE TO CENTURY, HIMSELF CHANGEABLE AND YET ABLE TO

CHANGE THE WORLD, HOW CAN HE BE GIVEN A THEATRE CHANGE THE WORLD, HOW CAN HE BE GIVEN A THEATRE WICH WILL HELP HIM TO BE MASTER OF HIS WORLD?. WICH WILL HELP HIM TO BE MASTER OF HIS WORLD?.

BERTOLD BRETCHBERTOLD BRETCH

ALTERNATIVE THEATRE MOVEMENT , IS THERE TO SHAKE AND ALTERNATIVE THEATRE MOVEMENT , IS THERE TO SHAKE AND STIMULATE AS WELL, OUR CRITICAL AWARNESS, RISING STIMULATE AS WELL, OUR CRITICAL AWARNESS, RISING QUESTIONS ABOUT OUR SOCIETY…QUESTIONS ABOUT OUR SOCIETY…

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 www.well.com/~jhonross/discographies/ewanmaccoll.htmwww.well.com/~jhonross/discographies/ewanmaccoll.htm www.wclm.org.uk/people/em/timeline.htmwww.wclm.org.uk/people/em/timeline.htm Digging up the stories, By James ThompsonDigging up the stories, By James Thompson Joan’s book, Joan littlewood’s peculiar history as she Joan’s book, Joan littlewood’s peculiar history as she

tells it. 1994 by Joan littlewood. Methuen, London.tells it. 1994 by Joan littlewood. Methuen, London. Agit-prop to Theatre Workshop, political play scripts Agit-prop to Theatre Workshop, political play scripts

1930-50 By Howard Goorney and Ewan MacColl/eds. 1930-50 By Howard Goorney and Ewan MacColl/eds. 1986. Manchester university press, uk.1986. Manchester university press, uk.

History of the Theatre, By Oscar G. BrockettHistory of the Theatre, By Oscar G. Brockett