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KEY TERMS AND PEOPLE
Bourgeois Theatre
Cleanflicks
Copyright
Corporate Funding
Federal Theatre Project
Government Funding
National Endowment for
the Arts
Nixon, Marni
Nonprofit Company
Patrons
Public Domain
Royalty Payment
Spacey, Kevin
Wood, Natalie
CHAPTER OUTLINE
1) Introduction
a) Theatre, film, and TV all have some obvious elements in common, but key
differences make theatre unique in this age of screen entertainments
2) Audience: No Cell Phone, Please!
a) With theatre, communication flows in both directions
b) Theatre is risky—A lot can go wrong
c) No two performances are exactly the same
d) No rating system for theatre
e) The unrepeatable nature of live theatre makes watching it like watching a high
wire act—something can always go wrong and you never know what you‘re going
to get
3) Acting: I‘m Ready for My Close-Up
a) Legitimate actors
i) Must sing their own songs
ii) Dance their own dance
iii) Perform their own stunts
iv) Project their voices
v) Must get it right night after night
b) Screen Actors
i) Can have their voice dubbed
ii) Use body doubles
iii) Learn their lines just before the scene
iv) Can fail time and time again
v) Things can be fixed in post production
4) Director: There is No Director‘s Cut in the Theatre
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a) Film is often called a director‘s medium
b) Stage directors seldom have absolute control over every moment of the production
c) In the theatre, there is no ―director‘s cut‖
5) Funding: Follow the Money
a) Funding the Screen
i) Each year people all over the world pay tens of billions of dollars to go to the
movies, rent DVDs and watch television
ii) Make money by selling tickets or commercial time and product placement
iii) Costs very little per audience member to produce
b) Funding Theatre and Arts
i) Often non profit
ii) Tickets sales at most nonprofit theatres cover only fifty percent of the cost
iii) A play costs more per audience member to produce than any Hollywood movie
iv) Theatre is often labor intensive
v) To cover expenses nonprofit theatres depend on:
(1) Patrons
(2) Corporate funding
(3) Government funding
c) National Endowment for the Arts (NEA)
i) Receives less than 1/100 of one percent (0.001%) of the federal budget.
ii) Started by Lyndon B. Johnson
iii) Mission is ―to foster the excellence, diversity, and vitality of the arts in the
United States, and to broaden public access to the arts.‖
iv) The NEA acts as an independent commission, and NEA panels do not have to
get their decisions rubber-stamped by the Senate or the President
v) Has given out over 140,000 grants
vi) NEA helps the national arts community pump billions into the economy
6) Theatre Can Be Expensive
a) Production costs for The Iceman Cometh on Broadway
b) Production costs for Bug off Broadway
i) These corporations are global and have concentrated ownership
ii) Today, because of deregulation, the number is down to six, including:
(1) General Electric
(2) Viacom
(3) News Corporation
(4) Disney
(5) Time Warner
(6) Sony
iii) Provincial and locally controlled
iv) Those who control the funding have a tendency to control content
v) Unlike big Hollywood screen entertainments small local theatres can present a
wider diversity of views
7) We Hate You (But Please Keep Sending Us Baywatch)
Chapter 2 3
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a) Cultural invasion through entertainment can have strange effects
b) Hollywood movies can easily reach as many 2.6 billion people
c) In Britain, U.S. movies account for 95 percent of the box-office revenues with an
average of nine of the top ten films at any Cineplex coming from America
d) Even in Afghanistan, American television is prevalent, with Kiefer Sutherland‘s
show 24 being one of the most popular.
e) Foreign perceptions of the United States are stereotypes
8) Ownership: Copyrights and Cash
a) Copyright is a legal guarantee granted by the government
b) Playwrights copyright their play
c) Because of copyright you cannot change a play without permission from
playwright
d) Exception – Public domain
e) Hollywood screen and television writers are writers for hire, they sell their
copyright
f) Hollywood screen and television writers are well paid
g) Most playwrights are poorly paid
9) Copyright Law: Infringement, Public Domain & Parody
a) The copyright laws of the United States can be complicated and in some cases
contradictory
b) American companies lose around $18 billion dollars worldwide every year
because of copyright infringement
c) Copyright infringement also includes altering copyrighted material without
permission
d) Cleanflicks
e) Parody & 2 Live Crew
f) Public domain
10) Curtain Call
a) Media moguls of massive corporations have a huge effect on our lives
b) Theatre can change the world
DISCUSSION AND DEBATE
ï‚· Should the government limit screen entertainments? Should we change the
First Amendment? How can we limit violence on screen without stepping on
our First Amendment rights?
Many feel that the United States is drowning in entertainment but has very
little art and that this is affecting us as a society. For example, violent incidents
were found in as much as seventy-three percent of our television programs, yet
it is not nearly so common an occurrence in art. Some feel that the connection
between violence on television and violence in our society is every bit as
strong as the connection between smoking and lung cancer. More than eighty
percent of American adults tell pollsters they think the violence in popular
Chapter 2 4
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culture contributes to violent acts by young people.1 Groups like the American
Medical Association, the American Psychological Association, the American
Academy of Pediatrics, and the National Institute of Mental Health all say
there is a direct link between violent entertainment (including movies,
television, and video games) and violent behavior. Congress has been
struggling for years in attempts to pass legislation that would limit sex and
violence on television and movies without stepping on our First Amendment
rights. Recently, Senator John McCain, Republican of Arizona, wondered
aloud whether it is possible to restrict a program—or even to restrict the
advertising of a program—featuring murder, suicide, gang violence, and knife
fighting and not have the restriction apply to Romeo and Juliet.
2
ï‚· Do you think watching screen entertainments affect your values and
opinions?
There is evidence that too much entertainment can lead to misconceptions
about the world. The Annenberg School of Communication found that
teenagers who watch talk shows wildly overestimate the extent of social
problems. Teens who watched a steady diet of talk shows guessed that fiftyfive percent of girls become pregnant before the age of eighteen. Teens who
did not watch talk shows guessed thirty percent. (In actuality the total number
of teenage girls in the US who get pregnant is only around four percent.)
ï‚· Thirty years ago, there were about fifty different corporations who controlled
our screen entertainments, but today, because of deregulation, there are only
about ten. How do you think this affects our screen entertainment?
―What you are seeing is the creation of a global oligopoly. It happened to the
oil and automotive industries earlier this century; now it is happening to the
entertainment industry,‖ says Christopher Dixon, director of media research for
Paine Webber. Not only do these corporations own our screen entertainment,
but they also control the majority of our media, including magazine publishers,
music producers, cable channels, movie production studios, movie theaters,
and television shows, stations, and networks. ―In some respects, the global
media market more closely resembles a cartel then it does the competitive
market place found in economics textbooks,‖ says Robert McChesney, author
of Rich Media, Poor Democracy.
3
ï‚· Should tax-dollars go to support the arts?
This can lead to a good class discussion as Republicans, Democrats and
Libertarians debate the issues. Be sure to point out that funding for the arts is
down — a good source is for information is ―Arts Outposts Stung by Cuts in
State Aid‖ written by Robin Pogrebin in the New York Times, August 1st
2011.
1 New York Times, June 27th, 2001
2 New York Times, June 27th, 2001
3
Rich Media, Poor Democracy, By Robert McChesney Pg. 91
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SUGGESTIONS FOR SHORT PAPERS
ï‚· What Has the NEA Funded in Your Area?
Have the class investigate how NEA money has been spent in your area. What
projects have been funded and what percent of that organization‘s funding comes
from the government?
ï‚· Who Owns What?
Have the class list their favorite TV show. Now they must investigate who owns that
show. For example, saying that it‘s owned by NBC is not enough; they must find out
what company produces the show for which network(s) and then determine who owns
the network(s).
MULTIPLE CHOICE QUESTIONS
1) The typical American spends about how many hours per year watching television?
a) 5,500
b) 400
c) 1,100
d) 1,600
e) 20,600
Answer: c
2) Actors who work primarily on stage are called…
a) Sophisticated actors
b) Legitimate actors
c) Real actors
d) Artiste actors
e) Charismatic actors
Answer: b
3) Many theatre companies do not have stockholders and pay no dividends or federal
taxes. These theatres are known as…
a) Nonspecific theatres
b) Free theatres
c) Profit tomorrow theatres
d) IRS theatres
e) Non-profit theatres
Answer: e
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4) The average taxpayer in which of the following countries pays the least of his or her
tax dollars to the arts?
a) Finland
b) Sweden
c) Ireland
d) Australia
e) USA
Answer: e
5) Which federal agency in the United States disburses tax dollars to the arts?
a) Domestic Policy Council
b) The Treasury
c) National Endowment for the Arts
d) Chief Financial Arts Council
e) The National Arts Council
Answer: c
6) A playwright‘s pay is called…
a) A royalty
b) A tax write-off
c) A play fee
d) The author‘s fee
e) The playwright‘s take
Answer: a
7) This is a legal guarantee granted by the government to an author, composer,
choreographer, inventor, publisher, and/or corporation to maintain control and profit
from a particular creative work.
a) Government arts grant
b) Government arts warranty
c) Author contract
d) Copyright
e) Arts and entertainment pack
Answer: d
8) Which best describes public domain?
a) Family rated TV
b) When a copyright expires
c) Another way of saying ―audience.‖
d) TV shows about the general public
e) When the general public decides what will and what will not be on TV
Answer: b
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distributed with a certain product or service or otherwise on a password-protected website for classroom use.
9) Most non-profit theatres do not cover their costs from selling tickets. On average what
percentage of their costs are coved by selling tickets?
a) 10%
b) 25%
c) 50%
d) 75%
e) 99%
Answer: c
SHORT ANSWER QUESTIONS
1) Which type of scriptwriters sells their copyrights?
Answer: Screenwriters
2) Which type of scriptwriters does not sell their copyrights?
Answer: Playwrights
3) Besides ticket sales, name three sources of funding for non-profit theatres.
Answers: Corporate funding, patrons, Government funding, and National
Endowment for the Arts (NEA)
4) If the playwright has been deceased for more than seventy years, the copyright no
longer applies. What is this called?
Answer: Public Domain
5) The word _____ is often used to describe the collaborative nature of theatre-making.
Answer: ensemble
ESSAY QUESTIONS
1) Identify three reasons why the federal government of the United States does not
provide the same level of support for the arts that comparable Western democracies do.
What would need to happen in this country to change this policy?
2) What distinguishes the role of the actor in film from that of the theatre?
3) If you were elected to the Senate or the House of Representatives, what policy would
you advocate for the role of the federal government in terms of supporting or not
supporting the arts? What would be the main points you would make to the citizens who
elected you?
Chapter 3 8
CHAPTER 3
THEATRE AND CULTURAL DIVERSITY
KEY TERMS AND PEOPLE
Alexander, Jane
Baraka, Amiri
Blackface
Boal, Augusto
Cross-Cultural Theatre
Culture
Enculturation
Ethnocentrism
Ferber, Edna
Finley, Karen
Gale, Zona
Gordon, Ruth
Harlem Renaissance
Hellman, Lillian
Henley, Beth
Hwang, David Henry
Johnson, Georgia
Douglas
Kennedy, Adrienne
Kushner, Tony
Mackintosh, Cameron
McNally, Terrence
Multiculturalism
National Endowment for
the Arts
Norman, Marsha
Ofili, Chris
Parks, Suzan-Lori
Pop Culture
Richardson, Willis
Sato, Shozo
Smith, Anna Deavere
Stereotypes
Suzuki, Tadashi
Theatre of Identity
Theatre of Protest
Theatre of the People
Valdez, Luis
Ward, Douglas Turner
Wasserstein, Wendy
Wilson, August
Wong, B. D.
Yiddish Broadway
Chapter 3 9
CHAPTER OUTLINE
1) Introduction
a) Theatre can give a voice to the voiceless
b) Augusto Boal called it ―theatre of the oppressed‖
2) Critical Mirror: Art and Entertainment Reflect Culture
a) Culture is defined as the values, standards, and patterns of behavior of a particular group
of people
b) Pop culture is defined as fads and fashions that dominate for a period of time
c) Enculturation is the process by which we learn about our culture
d) The political nature of art means that it can express ideas that do not reflect or support
those of the dominant culture
e) In its long history the theatre has not always given a voice to all people or reflected the
many cultures in any society. Instead it has been controlled by the dominant culture.
f) As an example for the above, it was not until the mid-twentieth century that plays written
by women became part of mainstream theatre
3) Theatre Can Promote Cultural Awareness
a) Multiculturalism is the endeavor to overcome all forms of discrimination, including
racism, sexism and homophobia so that people can coexist as well as perhaps achieve a
pluralistic society
b) Stereotypes are shortcuts in thinking that assign a generalized identity to people unlike
ourselves
c) There are three basic types of theatre of the people:
i) Theatre of identity
ii) Theatre of protest
iii) Cross-cultural theatre
4) Theatre of Identity
a) Promotes a particular people‘s awareness of themselves and their experiences, traditions,
and culture
b) Gives a voice to groups that the dominant culture tends to ignore or silence
c) Includes:
i) Yiddish Broadway
ii) The Harlem Renaissance
iii) Black theatre companies in the United States
iv) August Wilson
v) Suzan-Lori Parks
5) Theatre of Protest
a) Defined as theatre of social agenda or theatre of militancy
b) Anti-war plays
c) Includes theatre such as:
Chapter 3 10
i) Luis Valdez and the El Teatro Campesino
ii) Karen Finley and We Keep Our Victims Ready
6) Cross-Cultural Theatre
a) Borrows contrasting ideas from diverse cultures and joins them into a single work.
Includes:
i) Thornton Wilder‘s Our Town
ii) Tadashi Suzuki‘s Trojan Women
iii) Shozo Sato‘s Medea, Faust, and Macbeth
iv) Black Elk Speaks
b) Other cross-cultural plays expose the complexities among cultures by putting them on
stage side by side. Includes:
i) David Henry Hwang‘s M. Butterfly
c) Cross-cultural theatre has its critics. Some feel that cross-cultural plays mix cultures
without grasping their ideological dimensions.
7) Redface, Yellowface, Blackface
i) The minstrel show
ii) Asian roles played by whites (Jonathan Pryce in Miss Saigon)
8) Diverse Beliefs and Values: Karen Finley and the NEA
a) Only fifty complaints against the NEA out of 140,000 works of art funded over thirty
years
b) Finley was denied an NEA grant under the new law
c) The arguments before the Supreme Court raised many provocative issues:
i) Does the government have the right to favor certain points of view?
ii) Does the NEA have the right to exclude grant applicants because they are not in tune
with the dominant culture?
iii) Is it even possible to make a work of art that respects all the ―diverse beliefs and
values of the American public?‖
12) Theatre as a Way of Seeing though Another‘s Eyes
a) Ethnocentrism – seeing the world from our own point of view
b) Rudolph Giuliani, threatens to terminate funding for the Brooklyn Museum of Art
c) Chris Ofili‘s painting The Holy Virgin Mary
d) Some plays attempt to open the doors to cultural awareness. Examples are:
i) Milcha Sanchez-Scott‘s Roosters
ii) David Henry Hwang‘s M. Butterfly
iii) Anna Deavere Smith‘s On The Road: A Search for American Character
iv) Tony Kushner‘s Angels in America
e) Artists who attempt to produce plays that promote cultural awareness sometimes come
into conflict with the dominant culture
13) Keeping the Theatre of the People Alive
a) Public opinion polls show broad public support for the arts, artists and the NEA
Chapter 3 11
b) The U.S. government has a long history of guaranteeing freedom of speech by financially
supporting viewpoints that might otherwise be drowned out.
14) Curtain Call
a) Today there are hundreds of cultural theatres in North America
b) Polls show the people are becoming more tolerant
DISCUSSION AND DEBATE
 Often students don’t realize that they sometimes think in stereotypes. Highlighting
these thoughts can help them understand stereotypes.
We know of one professor who started the discussion by stereotyping the class from a
professor‘s point of view. He told the students that his Introduction to Theatre class was
―full of Neanderthal football players, right-wingers who think all professors are
communists, sorority blondes, middle-aged housewives who obsess about their
children, fact checkers who always want you to list your sources as well as holier-thanthou types and gay students who are always coming out.‖ As you can imagine these
labels caused quite a ruckus. But he followed it with a discussion of stereotypes and the
feelings that labels engender, and the students quickly understood that there is far more
to human beings than simple labels. For a class activity, it can be instructive to ask
students to divide themselves into groups based on whatever similarities they can
quickly perceive among themselves. Obviously, this exercise often leads to groups of
students who dress and look alike, rather than groups who believe the same things or
share the same interests. Stereotyping would suggest that those who appear similar are
similar through and through, but having these groups start short discussions about their
beliefs and interests will show them to be very diverse regardless of appearances.
ï‚· Should the government fund the arts through the National Endowment for the Arts
(NEA)? What are the advantages and disadvantages? You can have your students
read this short description of one NEA controversy for background knowledge.
The conflict between those who feel the federal government should help fund the arts
and those who do not was brought to a crisis with an artist named Andres Serrano and
his work entitled Piss Christ. Born in New York City in 1950, Serrano studied art at the
Brooklyn Museum Art School, had received many arts awards for his photos, and had a
traveling retrospective of his work organized by the Institute of Contemporary Art. The
National Endowment for the Arts granted money to the Southeastern Center for
Contemporary Art in North Carolina, which in turn used a small portion of that money
to exhibit Serrano‘s photographs. One of his techniques was to create fascinating
effects by taking photos of objects through different liquids, much like other
photographers use shadows or colored lights. But many feel that Mr. Serrano went too
far when he displayed a picture of a crucifix suspended in urine and called it Piss
Christ. It is probable that, had he not given the photo such a dubious title or identified
the liquid, this rather simple picture of a blurry crucifix suspended in yellow-orangeish
light would never have caused a ripple. Indeed, it would have been hard to guess that it
was urine (in point of fact it wasn‘t; it was only colored liquid). The NEA didn‘t have a
Chapter 3 12
problem with the photo because it has a policy that does not allow it to discriminate or
withhold grants on the basis of race, creed, gender, culture, or sexual orientation. It also
doesn‘t discriminate against ideas; it tries to promote freedom of speech even if what an
artist says may not agree with the majority or the general public‘s values. Serrano said
that it was not his intention to offend but rather to humanize Christ by depicting his
image in a necessary body fluid. Despite the artist‘s intentions, the work was enough to
send the world of government funding of the arts into a tailspin.
On May 18, 1989, Senator Alphonse D‘Amato tore up a picture of Piss Christ on the
floor of the U.S. Senate, and Senator Jesse Helms of North Carolina called Andres
Serrano a ―jerk.‖ The national debate over free expression and federal tax dollars being
spent on the arts was launched. The charge, they said, was simple. Why should
taxpayers use their ―hard-earned dollars‖ to fund blasphemous or controversial art? A
government report said that the arts community ―neglected those aspects of
participation, democratization and polarization that might have helped sustain the arts
when the political climate turned sour.‖ There were also complaints that the NEA
judging panels resembled ethnic quotas because about a third have consistently been
‗minorities‘ and about forty-eight percent have been women. The attacks soon included
Robert Mapplethorpe‘s photos. With no political action committee lobbying for the
NEA‘s benefit and artists having little money to donate to congressional reelection
committees, the NEA was besieged with attacks. The result was that Congress came
very close to eliminating the agency but instead slashed the endowment‘s budget and
ceased all grants to individual artists.
SUGGESTION FOR SHORT PAPERS
ï‚· Define Your Culture
In the book we state that culture is the values, standards, and patterns of behavior of a
particular group of people. Culture is expressed in a people‘s customs, language,
rituals, history, religion, social and political institutions as well as its art and
entertainment. Have the class discuss and attempt to define their culture. It is important
that they give examples. If you live in an area where there are many cultures, have
different members of the class describe their culture(s) and the rites or rituals of its
expression.
ï‚· Should the U.S. government fund the arts through the NEA?
Have the class write a short paper in which they state why the U.S. government should
or should not support the National Endowment for the Arts (NEA). Should the
government fund different cultural events? What are the advantages and disadvantages?
Should the NEA fund art when what the artist says does not agree with the majority or
the general public‘s values? Should they be funded if they are out of line with the
current principles or morals of the society? What if it is based on multiculturalism, gay
and lesbian rights, feminism, and sexual liberation?
Chapter 3 13
MULTIPLE CHOICE QUESTIONS
1) This term means the values, standards, and patterns of behavior of a particular group of
people.
a) Folklore
b) Metaphysics
c) Moral Affairs
d) Political Code
e) Culture
Answer: e
2) This is an attempt to overcome all forms of discrimination, including racism, sexism, and
homophobias so that people can coexist as well as perhaps achieve a pluralistic society.
a) Multinationalism
b) Enculturation
c) Coexistism
d) Multiculturalism
e) Globalism
Answer: d
3) Which type of theatre promotes a particular people‘s cultural identity?
a) Theatre of Identity
b) Personality Theatre
c) Theatre of Protest
d) Cross-cultural Theatre
Answer: a
4) Which type of theatre objects to the dominant culture‘s control and demands that a minority
culture‘s voice and political agenda be heard?
a) Deconstruction Theatre
b) Theatre of Identity
c) Cross-cultural Theatre
d) Theatre of Protest
Answer: b
5) Which type of theatre mixes different cultures in an attempt to find understanding or
commonality among them?
a) Cross-cultural Theatre
b) Theatre of Identity
c) Socialized Theatre
d) Theatre of Protest
Answer: a
6) This government agency has been at the center of this debate because its primary purpose is to
give a voice to all cultures as it ―increases the public awareness of our cultural heritage.‖
Chapter 3 14
a) United States Institute of Peace
b) Legal Services Corporation
c) Smithsonian Institution
d) National Endowment for the Arts
Answer: d
7) For most of American theatre history whites wearing heavy ―ethnic‖ makeup acted as African
Americans, Native Americans, and Asians. This lead to a now discontinued form of theatre in
which white people played black people. What name was given to this form of theatre?
a) Cross-cultural Theatre
b) Minstrel Show
c) Ethnic Theatre
d) Whiteface Theatre
Answer: b
8) By the 1900s Second Avenue in New York City had so many Jewish theatres it was known as
the…
a) Jewish Times Square
b) Hebrew Dramatic Society
c) Golden Age of Jewish Theatre
d) Yiddish Broadway
Answer: d
9) The 1920s and 1930s was a time when black artists, actors, poets, musicians, and writers
converged upon New York City and created what was known as the…
a) Harlem Renaissance
b) Ensemble Theatre
c) Black Times Square
d) Black Broadway
Answer: a
10) When someone attributes a generalized identity to people unlike themselves they are creating
what?
a) A Stereotype
b) A Culture Blockage
c) G.C.C. (Generalized Character Content)
d) Multiculturalism
e) Ethnocentrism
Answer: a
SHORT ANSWER QUESTIONS
Chapter 3 15
1) We all see the world from our own point of view, and most people tend to think that their
take on things, as seen through their culture, is the correct view. This is known as…
Answer: Ethnocentrism
2) Which type of culture includes fads and fashions that dominate mainstream media, music,
and art for a period of time?
Answer: Pop Culture
3) In the 1990s Senator Jesse Helms tried to stop what he and other critics viewed as the NEA‘s
―progressive agenda‖ with a law stating that every art grant given by the NEA has to take
into consideration the general standards of _____________________ for the diverse beliefs
and values of the American public.
Answers: decency and respect
4) The term used by Augusto Boal to describe his interpretation of a people‘s theatre is _____.
Answer: Theatre of the Oppressed
5) _____ is the process by which we learn about our culture by watching and imitating the
behaviors of others and listening to their stories
Answer: Enculturation
ESSAY QUESTIONS
1) In a country as diverse as our own, what is the role of protest theatre within our culture?
2) What are the advantages of mixing cultures in cross-cultural theatre? What are the
disadvantages? If you were a producer at a regional theatre company, would you encourage or
discourage your theatre from participating in cross cultural theatre? Why?
3) Do you think that all cultures or societies are inherently ethnocentric? Why do you think that?
What can the theatre do to counter
