Word: agitprop
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Dates: during 1935-1935
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...getting married. Nevertheless, all concerned in the dramatization do manage to supply, if not an exciting, at least a quiet, chuckly evening in the theatre. Let Freedom Ring (adapted by Albert Bein; Bein & Goldsmith, producers) is another blow at industrial Bondage & the Bosses. Like most radical literature, "agitprop" drama seems curiously limited not only as to symbolism but as to narrative. The humble workers take it on the chin for a couple of acts, then stage a strike during which the hero is killed. The finale still finds the strike unsettled, but homegoing playgoers are given the impression that...
...drama observers, who believe that to be healthy the Theatre should be sensitive to the times, predicted that Life's Too Short was the beginning of a long series of plays alert to problems of social justice but more fitted for popular consumption than last season's rash of "agitprop" (TIME, June...
Your very interesting story titled "AgitProp" [TIME, June 17], which tells of the campaign of suppression accorded Clifford Odets' Waiting for Lefty and of the currently expanding workers' theatre, should be amplified to a certain extent. Your write-up does not mention a rather amazing and in ways amusing "Pittsburgh episode" which is newsworthy as well...
...only those who are concerned with the theatre but everyone who wants to preserve the American heritage of civil liberties will bitterly resent this arbitrary suppression of a play which has been widely acclaimed.'" That quotation from your article "AgitProp" in TIME, June 17 is an excellent expression of what we in Boston are now fighting...
...like Chicago and Cleveland but in smaller manufacturing cities like Moline, Ill. and Gary, Ind. Not infrequently the shirt-sleeved amateurs went to the theatre after work, rehearsed and played there, ate there and slept on cots pitched on the stage. Through the League's play service, such "agitprop" pieces as Comrade, Mr. Morgan's Nightmare, Who's Who in the Berlin Zoo were supplied to workers' theatres up & down the land. Acceptable and exciting as they may have been to Marxist audiences, the general theatre public did not get very excited about proletarian drama until...