By M. Schwartz
Broadway and company Capitalism examines overlapping and, in lots of methods, symbiotic phenomena of early twentieth century America—the emergence of the Professional-Managerial type inside of American company capitalism and the evolution of Broadway. Michael Schwartz indicates how the category hobbies moved—literally and figuratively—to the rhythm of noisy, frenetic farces, hugely charged company and activities melodramas, and exuberant musicals. This e-book brings to lifestyles the consultant performs, playwrights, actors, critics, and audiences from one of many liveliest classes of Broadway.
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Extra resources for Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History)
9 As David Roediger points out, “The racial landscape discovered gradually by new immigrants to the United States was a mess. . Expert opinion divided the world into either a handful of races or several dozen. . Race was at once biological and cultural, inherited and acquired. Race identified, depending on context, both a category and a consciousness” (Roediger 35). Thus, each “outsider” group, occupying what Roediger calls an “in-between” position between races, had to consciously embrace the concept of “Whiteness” in order to be considered white (20–21).
Such “genteel” positions in particular are helpful in understanding the shifts between eras that exist in the years 1900–1920. In discussing the rise of the Professional Managerial Class in the context of Broadway, there are three key shifts that one can trace in theatre criticism. One is the shift from “Victorian” to “modern”— Winter’s as well as Towse’s tastes and opinions represent the vestiges of the fading Victorian era. The second is the shift from character to the aesthetic. Winter knew and associated with many of the actors of the day, and their character, for Winter, was inseparable from their artistic The Growth of Broadway, Emergence of PMC 41 achievement.
This view is corroborated by George Jean Nathan’s biographer Thomas F. Connolly: “up until 1915 there were two sorts of drama critics: anonymous puffsters and scholarly, genteel types exemplified by William Winter and J. Ranken Towse” (Connolly 47). What appeared in hindsight as bigotry and stuffiness (and “gentility,” used as a pejorative) was an important element of the Victorian habitus that would soon either fade from the scene or suffer a violent overthrow, depending upon one’s perspective.
Broadway and Corporate Capitalism: The Rise of the Professional-Managerial Class, 1900-1920 (Palgrave Studies in Theatre and Performance History) by M. Schwartz