Name: オフブロードウェイの誕生クラッシュ・コース・シアター#47 (The Birth of Off Broadway: Crash Course Theater #47)
Uploaded: 2021-01-14T08:13:30.000Z
Duration: 12 min 48 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

I'm Mike Rugnetta, this is Crash Course
Theater, and today we're going all the way

from Broadway to Off-Broadway, which Yorick
reminds me is… not very far from Broadway.

It has incisive social dramas and dancing
girls!

But in the middle of the twentieth century,
Broadway only had thirty-some theaters, which

was not nearly enough for producers to take
a chance on all that avant-garde goodness.

So, today, we'll look at the history of
Off-Broadway and the genres, styles, and troupes

it supported, including the Black Arts Movement.

Unless lights are too normal for your weird
show.

INTRO
Off-Broadway theater had actually been around

for a long time before anyone started calling
it that.

It is the natural continuation of the Little
Theater movement that we explored in our episodes

on American moderns and the Harlem Renaissance.

In New York that meant theaters like the Provincetown
Players, the Washington Square Players, the

Neighborhood Playhouse, and the Krigwa Players.

After World War II, new theaters and companies
appeared and this movement became known as

If you want to get technical, Off-Broadway
used to refer to theaters outside the Broadway

Box, a stretch that ran from 40th to 54th
Streets in Manhattan.

Originally, most Off-Broadway theaters were
located in Greenwich Village, often in the

same spaces that the Little Theaters had occupied.

Eventually, Off-Broadway became an Actors
Equity designation concerning theater size,

referring to theaters in Manhattan that have
between one hundred and four hundred and ninety-nine

It's against shallow, big-budget entertainment
and in favor of ensemble-driven, noncommercial

Of course, plenty of Off-Broadway stuff ends
up transferring to Broadway and turns out

I mean, you might be surprised to know that
this bit about theater is complicated.

In the early days, a lot of Off-Broadway theaters
were interested in producing the European

avant-garde because America was apparently
not absurdist enough on its own!

But Off-Broadway theaters also helped to develop
a new American avant-garde, and were supportive

of works by queer writers and writers of color.

Let's look at a few significant theaters
and troupes: The Living Theater, Jose Quintero's

Circle in the Square, and Joe Papp's New
York Shakespeare Festival and Public Theater.

The Living Theater was founded in 1947 by
Judith Malina and Julian Beck.

They started out producing Brecht and Cocteau
and Pirandello.

But in the late 1950s, they began producing
new American work, like Jack Gelber's “The

Connection,” an immersive play about drug
addicts,

and Kenneth H. Brown's “The Brig,” a
brutal play about a military prison.

The Living Theater then relocated to Europe—this
was partly because of an unfortunate tax thing;

The company reinvented themselves as a devised
theater company, meaning a company that creates

its own original works through rehearsal and
exploration.

The Living Theater created a bunch of pretty
shocking, occasionally nude, and very participatory

pieces like “Paradise Now” and “Mysteries
and Smaller Pieces” and brought them back

These shows are basically where all of our
clichés about experimental theater come from:

long hair, loincloths, naked screaming, naked
rolling around on the floor, naked screaming

and rolling around on the floor with long
hair...

But try to remember these weren't cliches
when the Living Theatre did them.

The Circle in the Square Theater was founded
in Greenwich Village in 1951 by Jose Quintero,

It was sort of a theater-in-disguise, because
it was originally housed in a former nightclub

This meant that the actors, a bunch of whom
lived on site, also had to serve drinks.

Circle in the Square made some gestures toward
the European avant-garde, but under Quintero's

passionate direction, it's best known for
cementing the legacy of Tennessee Williams

and rehabilitating the work of Eugene O'Neill,
who had fallen way out of favor.

The consummate Circle in the Square work is
probably Quintero's 1956 revival of O'Neill's

“The Iceman Cometh,” which had pretty
much flopped the first time around.

It starred Navy veteran, almost EGOT, and
awesome actor Jason Robards, who at the time

The New York Times wrote that since Circle
in the Square had originally been a nightclub,

it was the perfect place to house O'Neill's
waterfront dive.

“It seems not like something written, but
like something that is happening,” wrote

Circle in the Square became known for an intense
acting style, introducing audiences to influential

actors like Geraldine Page, Colleen Dewhurst,
and George C. Scott.

The theater moved to the South Village in
1960.

And then in 1972, it moved—surprise!—to
Broadway.

Joe Papp was born in Brooklyn to Yiddish-speaking
parents.

After a stint in the Navy and some time out
in California with former members of the Group

Theater, he returned to New York and began
to stage free Shakespeare plays in a Lower

East Side church, insisting that Shakespeare
could and should be for everyone.

In 1956, the Parks Department gave him permission
to use the East River Amphitheater.

Robert Moses, then the parks commissioner,
told him that he would have to charge admission

fees, but Papp refused—Shakespeare should
be free for all.

A permanent theater was built for him in Central
Park.

It opened in 1962, and free Shakespeare is
still performed there every summer.

In 1966, Papp moved into what had been the
Astor Library on Lafayette Street and transformed

it into the Public Theater, which you can
visit today.

It's adjacent to another music, theatre
and nightclub venue called…

Some of the Public Theater's hits include
“Hair,” “A Chorus Line,” “For Colored

Girls Who Have Considered Suicide When the
Rainbow is Enuf,” “The Normal Heart,”

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オフブロードウェイの誕生クラッシュ・コース・シアター#47 (The Birth of Off Broadway: Crash Course Theater #47)

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