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Record Nr. |
UNINA9910795647503321 |
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Autore |
McLaughlin Robert L. <1957-2022, > |
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Titolo |
Broadway Goes to War : American Theater During World War II / / Robert L. McLaughlin and Sally E. Parry |
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Pubbl/distr/stampa |
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Lexington : , : University Press of Kentucky, , 2021 |
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©2021 |
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Descrizione fisica |
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1 online resource (x, 290 pages) : illustrations |
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Soggetti |
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World War, 1939-1945 - Theater and the war |
War and theater - United States - History - 20th century |
American drama - 20th century - History and criticism |
World War, 1939-1945 - United States - Literature and the war |
Theater - New York (State) - New York - History - 20th century |
Theater and society - United States |
Popular culture - United States - History - 20th century |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references (pages 267-280) and index. |
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Nota di contenuto |
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Popular culture, Broadway, and World War II -- Before Pearl Harbor -- Overseas -- The home front -- Anticipating the postwar world -- Conclusion -- Appendix : Annotated list of war-related plays produced in New York, 1933-1946. |
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Sommario/riassunto |
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The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the |
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history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize. |
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