The Living Newspaper

The Federal Theatre Project was established in 1935 as part of Franklin D. Roosevelt’s New Deal. One part of The Federal Theatre Project was The Living Newspaper, which dramatized actual events as a means of informing the public about the size, nature and origin of social problems. Productions often offered solutions to these problems, which due to their leftist bias led to the project’s closure.

What is a living newspaper?

The living newspaper is a form of documentary theatre which stages actual events, usually based on news stories that are occurring during the time of production. Actual portions of speeches, interviews and statistics are often directly inserted into the script.

Also, the images of photo-journalism are sometimes set to life on the stage.

History

The Federal Theatre Project adopted the idea of a living newspaper from similarly structured productions in Europe. Hallie Flanagan, the project’s director, had just returned from studying theatre in Russia, where she had encountered theatre troupes such as the Blue Blouses (employing ten thousand actors in several thousand troupes), whose goal it was to perform the news for small villages. Since Flanagan was dedicated to providing as many jobs as possible and performing theatre that was truthful and conscious of the problems of her times, she decided that the Federal Theatre Project needed a Living Newspaper. The Living Newspaper was based in New York City, where the majority of its productions were staged, though many of the scripts were used at smaller Federal Theatre Project locations throughout the country as well. The Newspaper flourished, receiving conflicting reviews, but continually drawing audiences to their unique productions until the government pulled the funding for the operation in 1939.

Scripting

The scripts for the Living Newspapers were created very quickly. First a social issue was decided upon. Then, a team of researchers would procure much information pertaining to the issue. The information would then the placed in chronological order and sent to a playwright, often Arthur Arent, who would make decisions as how best to present the information and create scripted scenes with characters.

Theatrical Devices

Projections- Both motion pictures and photographs of actual news events and documents were projected to emphasize the action of the Living Newspaper. Also, in an effort to save money and ensure smooth scenic transitions, many set pieces were projected onto the stage instead of actually occupying it.

Music- Rhythms were sometimes carried from one scene, through a transition and into another scene to emphasize the connection of the content.

Loudspeaker- The “Voice of the Living Newspaper” was projected through a loudspeaker. This voice served as an unseen narrator who linked scenes and provided information about the time and place of the action

Living Newspapers

Ethiopia- This was the first of The Federal Theatre Project’s Living Newspapers. The show staged Mussolini’s invasion of Ethiopia and the reaction of world leaders and th public. The show includes scenes of Ethiopians being injured by bombs, Mussolini addressing Italy, the League of Nation’s debate of what to be done and the public’s anger at the political decision to give most of Ethiopia to Mussolini. The subject was chosen because it was prevalent in the news at the time and the first group of actors sent to the Newspaper was a group of stranded African opera singers who could not speak English and needed to be cast. The show was banned by the United States’ government because it depicted foreign leader, Mussolini, in a not so positive, though surprisingly well documented way. After Ethiopia was banned Hallie Flanagan only produced Living Newspapers that dealt with domestic issues.

Triple-A Plowed Under- This show was written in reaction to the Supreme Court’s decision that the Agricultural Adjustment Act, a New Deal program aiming to assist impoverished farmer, was unconstitutional. It followed the unfortunate affects that the Dust Bowl and the Great Depression had had on United States’ farmers. Unlike Ethiopia, Triple-A Plowed Under offered a solution to the problem presented, encouraging America to adopt a farm-labor party (an American Communist Party ideal). The production mimicked the form of popular musical reviews. Although the subject was not expected to be engaging for e New York audience, the interesting style of the performance and the low ticket prices drew large audiences.

Highlights of 1935- This show examined the justice system as applied to such groups as criminals, workers, African Americans, and politicians during the title year. Hallie Flanagan considered the production a failure because it did not have a clear objective.

Injunction Granted- Hallie Flanagan was enraged by the political agenda presented by this show. The show details a history of America’s labor movement starting with Bacon’s Rebellion of 1676. The characters were drastically stereotyped with the law always being villainous and the workers always virtuous. Although the Living Newspapers were supposed to be based in fact, most of the material used in Injunction Granted was not found in documentary sources. One interesting feature of the show is the appearance of a clown in many of the scenes which may have been the predecessor of the everyman figure which appears in many later Living Newspapers.

Power- This was the first living Newspaper to use both documentary facts and fictional scenes and character, including “the consumer” an everyman figure. The show follows the history of electricity from its invention through its evolution into a necessary utility ending by highlighting the Supreme Court hearing of the constitutionality of the TVA (at the time the case was still undecided). The show includes educational segments about what electricity is, how it is used and who supplies it. Statistics such as the price differences between certain areas’ private and municipally owned electricity are used as well. “The consumer,” who represents the public is on a mission to get his electric rates lowered. Through his search, the audience learns all about the issues. This was considered one of the Living Newspaper’s most successful production.

It Can’t Happen Here- Sinclair Lewis’ glimpse into the possibility of the development of a Facist America was a huge success. It was performed simultaneously in twenty-one theatres in seventeen states. The New York production alone was viewed by over 300,000 people. The play served as a warning that horrific political states such as that of Nazi Germany could happen any where, including the United States.

One Third of a Nation- Titled after the famous words of F.D.R. that he saw “one-thid of a nation ill housed, ill clad, ill nourished” this show focused on the deplorable housing conditions of New York City. It promoted the government funded housing program, but was seen to support communist ideals instead of the New Deal program that it was actually supporting. This misinterpretation led to the closure of the Federal Theatre Project, under the assumption that it was being run by Communist sympathizers. This was the only Living Newspaper that employed an extensive stage set. Part of which was a huge dilapidated tenement in which scenes were played in individual apartments, seen from the outside. Also, the everyman character, seen in Power reappears as “the little man.” The show was a huge success and was adapted to serve the needs of many smaller communities in which it was performed.

Life and Death of an American- This was the last Living Newspaper produced by The Federal Theatre Project. It was a biographical dramatization of life in America. It followed the life of everyman figure, Jerry Dorgan. His impoverished childhood, interrupted education, factory job, war service, marriage, struggle with unemployment and death during a strike demonstration were staged. The background was that of the Great Depression.

Importance

The Living Newspaper introduced a new form of social theatre to the American stage. The productions were able to employ many actors faced with the hardships of economic depression, thus assisting to revitalize America’s working class. Many new technical fields such as the projection of images and voices were advanced and solidified as theatrical devices through their use in the Living Newspapers. Perhaps most importantly though, the Living Newspapers provided inexpensive performances which not only entertained, but informed their audiences about what was happening in their world.

Sources

Bigsby, C.W.E. A Critical Introduction to Twentieth Century Drama. v.1. Cambridge

University Press. Cambridge.

Favorini, Attilio. Voicings: Ten Plays from the Documentary Theatre. Ethiopia. Ecco Press. Hopewell, NJ. 1995

Rohan, Pierre de. Federal Theatre Plays. Power. Da Capo Press. New York City. 1973.

Zandee, Lijntje. The Federal Theatre Project and The Living Newspaper. 1997. http://www2.let.uu.nl/solis/ams/xroads/1theatre.htm.