A Prairie Stage Companion - Current Structure And Development of Professional Theatre in the United States

Inhaltsverzeichnis (Table of Contents)

• INTRODUCTION
• CHAPTER 1: The Heartland – Great Lakes and Great Plains
  • 1.1. The Appalachians, the Rockies and the Ohio River –The Embedded Midwest
    • 1.1.1. Finding A Definition
    • 1.1.2. Frontier, Lewis & Clark and American-Indians – History of the Midwest
    • 1.1.3. Pioneers, Farmers and Johnny Carson – Socio-cultural Development of Midwestern Communities
  • 1.2. US State Repertory – Brief Introduction to the Sampled Regions
    • 1.2.1. Illinois – Prairie State and Windy Cities
    • 1.2.2. Minnesota – The Land Of 10,000 Lakes
    • 1.2.3. Iowa – The Hawkeye State
    • 1.2.4. South Dakota – Great Places. Great Faces
    • 1.2.5. Montana – Big Sky Country
• CHAPTER 2: Theatre in the United States – The Review
  • 2.1. From Ban to Broadway - History of American Theatre
    • 2.1.1. Hallam and Dunlap – The Colonial Years
    • 2.1.2. Beginning Star-system, Melodrama and Frontier
    • 2.1.3. Vaudeville and American Realism
    • 2.1.4. The Rise of Commercial Broadway
    • 2.1.5. Avant-garde vs. Big Business – Ascending Off-Broadway And Regional Theatre
  • 2.2. Equity and LORT – Contemporary United States Theatre System
    • 2.2.1. Money, Money, Money or Zero Balance – Commercial vs. Non-Profit Theatre
    • 2.2.2. The Geographical Clash - Broadway vs. Regional
    • 2.2.3. U.S. and European Style. Repertory vs. Repertoire
    • 2.2.4. Actors Unified and Unionized – The Actors’ Equity Association
    • 2.2.5. Broadway, what? – The League Of Resident Theatres
• CHAPTER 3: Broadway. Regional. Community. Professional Theatre in the Midwest
  • 3.1. Midwest Theatre – A Statement for Progress
  • 3.2. Touring Companies and Regional Gemstones – The Different Kinds of Theatres in the Midwest
    • 3.2.1. Make A Living From Performing - Professional Theatres
      • 3.2.1.1. Avant-garde and Popular - The Regional Theatre
      • 3.2.1.2. Musicals and Hit Plays – The Big Commercial Theatre
      • 3.2.1.3. How I Learned To…Act - The Small Non-Profit Theatre Company
      • 3.2.1.4. Broadway Road Trip – The Touring Company
      • 3.2.1.5. Suddenly, Last … Summer Stock Theatre
      • 3.2.1.6. Theatre Non-Stop - Theatre Festivals (Fringe)
      • 3.2.1.7. Off The Top One’s Head – Improvisational Theatre
      • 3.2.1.8. Eating And Enjoying – Professional Dinner Theatre
    • 3.2.2. After Work Yet Passionate – Non-professional Theatre
      • 3.2.2.1. Community Theatre. From the People for the People
      • 3.2.2.2. Development of Community Theatre in the United States
    • 3.2.3. Somewhere In Between – Educational Theatre
• CHAPTER 4: Our Town – Case Studies
  • 4.1. Performing The Loop. Theatre in the Windy City, Chicago, Illinois
    • 4.1.1. House of Directors – The Goodman Theatre
    • 4.1.2. House of Actors – The Steppenwolf Theatre
    • 4.1.3. The House of Improvisation – The Second City
    • 4.1.4. Theatre in the Water Tower Water Works – The Lookingglass Theatre
    • 4.1.5. “Dramatically Different” – About Face Theatre Company
    • 4.1.6. “Theatre so close, it touches you” – Victory Gardens Theatre
    • 4.1.7. Broadway in Chicago
  • 4.2. Thank You, Mr. Guthrie. Performing Arts in the Twin Cities, Minnesota
    • 4.2.1. And so it begins… - The Guthrie Theatre
    • 4.2.2. “Time for Something New” – Theatre de la Jeune Lune
    • 4.2.3. Ethnical Theatre – Mixed Blood, Penumbra, Theatre MU
    • 4.2.4. “Fresh Art Delivered Daily” – The Minnesota Fringe Festival
    • 4.2.5. Fitzgerald Theatre – Residence of the Prairie Home Companion
    • 4.2.6. Orpheum, Pantages, State Theatre - Broadway in Minneapolis
    • 4.2.7. “Love. Listen, Wonder, Excite” – Children’s Theatre Company
    • 4.2.8. The Oldest and Largest of its Kind - Chanhassen Dinner Theatre
    • 4.2.9. “Experience the Unforgettable” – History Theatre
  • 4.3. Theatre in Iowa
    • 4.3.1. Two Equity Houses – Both Alike in Dignity
    • 4.3.2. New Ground, Repertory Theatre of Iowa, Theatre for a Change and Stage West
    • 4.3.3. The Commercial One – Lamb Theatre
    • 4.3.4. Festivals – Iowa Fringe and Pella Shakespeare
    • 4.3.5. Quality in Community – Des Moines Playhouse and Actors Inc.
  • 4.4. Theatre in South Dakota
    • 4.4.1. Waterfalls and Prairie. Theatre in Sioux Falls
      • 4.4.1.1. The Washington Pavilion
      • 4.4.1.2. Theatre For and By Strong Women – Ephemeral Productions
      • 4.4.1.3. Shakespeare At the Falls – Bare Bodkins Theatre Company
      • 4.4.1.4. “Pros Not Only for Kids” – The Children’s Theatre Company of Sioux Falls
    • 4.4.2. Ah, Wilderness. Summer Stock Theatre in Custer, South Dakota
  • 4.5. True West. Community Theatre in Montana
    • 4.5.1. The Roots of Community Theatre in Western Montana
    • 4.5.2. The Current State of Community Theatre in Butte
    • 4.5.3. In Search of Issue-Oriented Community Theatre: Expedition to Helena
• CHAPTER 5: The Lewis & Clarks Of The Performing Arts. A Survey on Theatre Artists in the Midwest
• CHAPTER 6: The Midwest Audience. An Impact Survey

Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)

This master's thesis aims to explore and document the current state and development of professional theatre in the U.S. Midwest, challenging the common misconception that American theatre is solely defined by Broadway. It utilizes empirical research, including online surveys and interviews, to analyze the structure, variety, and challenges faced by Midwestern theatre companies.

• Definition and characteristics of the Midwest as a geographic and cultural region.
• Historical development of American theatre and its current structure.
• Diversity of theatre forms in the Midwest (professional, community, educational).
• Case studies of representative theatre companies in selected Midwestern states.
• Perspectives of Midwest theatre artists and audiences.

Zusammenfassung der Kapitel (Chapter Summaries)

Chapter 1 defines the Midwest geographically and culturally, tracing its history from frontier settlement to its present-day diversity. Chapter 2 provides a brief history of American theatre, outlining its evolution from colonial beginnings to the contemporary system, including the roles of Actors' Equity Association and the League of Resident Theatres (LORT).

Chapter 3 analyzes the diverse landscape of Midwestern theatre, detailing the various forms and challenges faced by professional companies (regional, commercial, small non-profit, touring, summer stock, fringe festivals, improvisational, and dinner theatre), as well as non-professional (community and educational) theatre.

Chapter 4 presents case studies of prominent theatre companies in Chicago, Minneapolis, Iowa, South Dakota, and Montana, illustrating the range of professional and non-professional activity.

Chapter 5 presents the results of a survey of Midwestern theatre artists, exploring their backgrounds, experiences, perspectives, and challenges.

Chapter 6 details the results of a survey of Midwestern audiences, examining their theatre-going habits, preferences, and suggestions for improvement.

Schlüsselwörter (Keywords)

Midwest theatre, American theatre, regional theatre, community theatre, educational theatre, Actors’ Equity Association, League of Resident Theatres (LORT), case studies, Chicago theatre, Minneapolis theatre, survey research, professional theatre, non-profit theatre, commercial theatre, audience perception.