Jane Addams of Chicagos Hull House fame believed that the theatre was a place of culture and had not only the capacity to lift people up, but to also teach them to act, think, and feel. Shulman and Westgate contend that the Progressive era came into being, largely, through the ubiquity of performance, which defines and creates its audience, while, at the same time, being defined and created by it. They seek to give readers the experience of the abundance, variety, and contradictions of performances from 1890 to 1920. As they reexamine the Progressive era, they find resonances between the past and present: contradictions regarding immigrant influences versus virulent racism; isolationism versus empire building; trust-busting versus booming capitalism; social reform versus moralistic repression; avant-garde artistic movements versus the commercialization of performance. Annotation ©2019 Ringgold, Inc., Portland, OR (protoview.com)
The American Progressive Era, which spanned from the 1880s to the 1920s, is generally regarded as a dynamic period of political reform and social activism. In Performing the Progressive Era, editors Max Shulman and Chris Westgate bring together top scholars in nineteenth- and twentieth-century theatre studies to examine the burst of diverse performance venues and styles of the time, revealing how they shaped national narratives surrounding immigration and urban life. Contributors analyze performances in urban centers (New York, Chicago, Cleveland) in comedy shows, melodramas, Broadway shows, operas, and others. They pay special attention to performances by and for those outside mainstream society: immigrants, the working-class, and bohemians, to name a few. Showcasing both lesser-known and famous productions, the essayists argue that the explosion of performance helped bring the Progressive Era into being, and defined its legacy in terms of gender, ethnicity, immigration, and even medical ethics.
In Performing the Progressive Era, editors Max Shulman and Chris Westgate bring together top scholars in nineteenth- and twentieth-century theatre studies to examine the burst of diverse performance venues and styles of the time, revealing how they shaped national narratives surrounding immigration and urban life. Contributors analyze performances in urban centers (New York, Chicago, Cleveland) in comedy shows, melodramas, Broadway shows, operas, and others. They pay special attention to performances by and for those outside mainstream society: immigrants, the working-class, and bohemians, to name a few. Showcasing both lesser-known and famous productions, the essayists argue that the explosion of performance helped bring the Progressive Era into being, and defined its legacy in terms of gender, ethnicity, immigration, and even medical ethics.
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