History of Technological Advances

. . arts . . . and will discoun disco biscuitance and discourage every species of extravagance an dissipation, especially . . . exhibitions of shews, plays, and other dear(predicate) diversions" (Hewitt 30). Part of this double vision can undoubtedly be attributed to the Revolutionary War, but the residue of influential and anti- sign of the zodiac revolutionary England Puritanism on the Statesn social mores. What this came down to was that in both America and Europe at the time, "to become an actress was to lose one's reputation" (Hewitt 41).

By the late twentieth century, the social climate had been transformed several(prenominal) times over, with a whole range of attributes influencing the establishment of theatrical accomplishment companies and performance venues around the country. One key influence in this regard was that by the twentieth century the professional theatre had become an industry. More than this, the industry where major theatrical performance occurred was concentrated in a fairly small heavens in and around New York City's Times Square, not least(prenominal) because of the power-sharing dynamics of producers, directors, actors, trades unions, investors, and theatre owners who them selves were concentrated in New York. Ironically, this diverseness of structure meant that the form a production took was "often . . . the unintended product of several conflicting aims, ideas, attitudes, and personalities. Under such conditions everyone could bemoan the state of the theatre and everyone

particular(a) resources to American commercial theatre in the 1920s sprang up in New York in amateur theatricals promoted on the decorate of Broadway by the intelligentsia and would-be professionals, notably in the orbit Guild, the Washington Square Players, and the Provincetown Playhouse (the setoff venue for O'Neill's plays). However, Broadway negligent much of this activity over the next 20 old age, which did zero to loosen the commercial concentration in New York. The first structured response to this commercial concentration came in 1946, with make-up of the American National Theatre and Academy (ANTA), which sought to go the stranglehold that "confined professional theatre to a some blocks around Times Square" (Hewitt 486).

The results were spotty until some ten years later, by which time the off-Broadway theatre had emerged as a force with a life of its own in New York, as well as in Dallas, Texas, and Washington, D.C., where there were resident-player companies, yet though the playbills were by and large classics and revivals of Broadway shows. But attempts to establish uniform companies in Philadelphia and Chicago in the 1950s did not succeed. Meanwhile, the motion-picture alternative to legitimate theatre, where production and marketing costs of mounting an in an elaborate way costumed play had increased from a high of $250,000 in 1951 (Hughes 484) to an average of $2 million for a flop ("Boffo" 80) and $4 million for a hit (Jacobs 5) some 30 years later, further encroached on the practical appeal of live performance. In sum, the theatre and the arts were by and large considered an expensive extravagance.

"TRW Sponsorship Brings trick Start Programs to South Bay Preschoolers." Performing Arts (January 1997): MC-8.

could fault everyone but himself" (Hewitt 485).

The Kennedy Center, established in 1971, can be understand as a successor organization of the ANTA, which was originally conceived as an educational bridge between professional and amateur theatr
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