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Exam 14: Contemporary Theatre in the United States

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Question 1

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Native Voices at the Autry, founded by Randy Reinholz and his wife Jean Bruce Scott, is one of the most important and prolific producers of new Native American plays.

A) True
B) False

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In 1985 when the National Endowment for the Arts budget was almost $20,000,000 higher than it is in 2008, it was publicly noted that the entire NEA budget was only enough money to run the U.S. military for 10 minutes. (1985 NEA $163,660,000; 2008 NEA $144,706,800) Assuming there is no question that every country must fund a military operation, discuss the value of the arts in this country versus the value of one single B-2 stealth bomber, which costs $1.2 billion to build.

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The value of the arts in this country is...

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The Royal National Theatre alone in Great Britain has a current annual budget of $30 million, which is more than 1/4 of the entire National Endowment for all of the arts in the U.S.

The Boys in the Band was the first play that brought gay life to the forefront of mainstream audiences.

Unfortunately the sheer diversity of the American theatre scene has become so fragmented that there is no longer enough audience support for live theatre to continue.

Possibly the most important production of the postwar era was A Raisin in the Sun.

England and numerous European countries invest significantly in the arts, and theatre specifically, to a far greater extent than the National Endowment for the Arts in the United States.

A Trip to Coontown was the first black musical, conceived, written, produced, and directed by Bob Cole and William Johnson in 1898.

El Teatro Campesino is one of the major theatres to arise in Native American theatre.

England and numerous countries throughout Europe support a national theatre, while the United States does not. The U.S. did establish a National Endowment for the Arts (NEA, which covers visual art, music, dance, and theatre) while the example in your textbook indicates that one single theatre operation in England receives funding that is equivalent to about one-quarter of the entire NEA budget for all of the arts in the U.S. Why do you think the U.S. government does not support the arts in a similar fashion? In what ways do you think the country would benefit if there were more national support for theatre and the other arts?

Asian American theatre continues to thrive, as emerging playwrights Philip Kan Gotanda and Young Jean Lee are adding a more contemporary perspective to the already established works of David Henry Hwang and Tisa Chang.

Beyond the confines of Broadway and touring professional theatre, there is not a great deal of diversity available in theatre around the country in the early twenty-first century.

The use of blackface is outlawed in many states. Discuss whether this is appropriate, and why such actions may have been taken. Discuss the tradition in terms of masks and certain traditions of Asian theatre. How is it similar? How is it different?

The Federal Theatre Project of the late 1930s also gave rise to a significant number of Cuban American plays, performed predominantly in Florida.

Postmodern theatre artists often deconstruct classic plays; in the process they may foreground structures of latent cultural power that inform the original text. Shakespeare's The Tempest, has been used to address postcolonial issues to unravel patriarchal structures including those of race and gender. Address these concerns.

Performance art began as a form that predominantly combined ballet with special sound effects and limited visual design elements.

Environmental theatre is the name given to the plethora of outdoor theatres that developed in the late 1960s and 1970s.

Postmodernism is an approach to drama that strives to achieve a correct interpretation of a play through extensive background research and intense bibliographic rigor.

Strictly speaking, there was no Native American theatre tradition; rather, there were spiritual and social traditions that had theatrical elements.

Lorraine Hansberry is the African American author of the Pulitzer Prize-winning play, Topdog/Underdog.