Project MUSE - Staging the War: American Drama and World War II (review)
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Staging the War: American Drama and World War II
This book is not yet featured on Listopia. Jul 01, Sally rated it really liked it. A thoughtful book on WWII theater. Some good research not only on Broadway theater but on radio and USO shows. The organization at times drove me crazy because sometimes it was thematic, sometimes by author, so there was some repetition and some errors.
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However it's the only book currently that is on the theater of the s; that is until the new theater book on WWII Broadway theater by Robert McLaughlin and myself comes out in about two years. Feb 06, Samuel rated it it was ok. This book relates how the American theater--plays and radio plays--reflected the socio-political attitudes and cultural values of the United States between It focuses chiefly on how World War II was perceived, presented, and endured as shown through an analysis of Broadway plays, military plays, and radio plays created and produced to entertain and educate Americans at home and abroad.
First of all, radio not theater was more successful at encouraging the American public to go to war; it was more immediate, it was experienced in the home not the theater and it more successfully scared people about the dangers of pacifism, isolationism, and apathy The threat of Germany eventually invading America was the main draw to war—rather than Jewish and gypsy persecution. The war saw a questioning of and transformation of sexuality norms sexual orientation, gender, racial questions too. All of these issues and more can be mapped out for testing and exploration on the American stage during WWII.
2 384,98 RUB
Full ugliness of concentration camps remained unknown till wars end. As the war drew to a close, theater began to examine the hard questions about life after the war.
Not returning to the s exactly. Men were coming back physically and mentally scarred. During and after the war, Broadway plays broached the issues of anti-Semitism and racism, but they largely sanitized and softened their realities.
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Albert Wertheim's own existence was the result of diasporic dislocation. His parents fled from Nazi Germany in , and he was born in New York in He writes movingly about his certitude that had he been born in Germany instead of in the United States, he and his parents would have perished in the Holocaust like so many of his relatives; he describes hauntingly his memory of watching his elderly great-aunt and other emaciated survivors of Theresienstadt disembark in New York.
At times, Wertheim's writing is laced with an unabashed patriotism, but his devotion to the United States is rooted in his gratitude that he survived.
Perhaps, too, Wertheim's identification of World War II as the defining event of the twentieth century is linked to the fact that it defined his life's beginning and end. The author's photograph on the book's dustjacket was taken during World War II when he was small boy in a sailor suit; writing about drama and World War II was his last scholarly project before he died of cancer in Three chapters of Staging the War are concerned with drama before, during, and after the war.
Most of these plays were written by professional playwrights and produced in New York, usually on Broadway. The other two chapters explore drama in less traditional contexts.
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