2007-09-21
Angels in the American Theater
We know that an event is not theatrical unless an audience is there to witness it. Indeed, the audience itself transforms what might otherwise be a moment of reality into an artistic event. We also know that a theatrical production, however small, will not happen unless there is funding to support it. Whether it is a community production in someones backyard, or a full-scale musical on a Broadway stage, funding support is always a necessity.
It is therefore ironic to consider that many historical theatre texts focus on the artistic process, and/or the collaborators who make the production happen, without also focusing on the audience and angels who are equally essential to the creation of theatre. Sure, over the past 20 years a small number of theatre management texts have offered valuable resources in the how tos of management, (and in the interest of full disclosure, I co-authored one of them.) Yet, the historical evolution of noteworthy patrons and angels as intriguing and influential figures in their own right has been mostly ignored. Until now.
Robert Schanke, in his recently published Angels in the American Theatre: Patrons, Patronage, and Philanthropy, offers us an outstanding overview of the evolution of arts funding in the United States, through the lense of patrons and philanthropists themselves. His introduction takes us through a historically accurate and appropriately condensed timeline of American patronage and philanthropy, while helping us to understand along the way what makes these endeavors unique in America. The introduction alone, entitled He Who Pays the Piper Calls the Tune, should be required reading for American theatre training programs, as it helps the reader to understand the somewhat cyclical nature of American patronage between private, corporate and public support.
In addition to Schankes outstanding introduction, is an outstanding assortment of essays by leading academics from throughout the country. Part One of the text offers us a composite of essays of individual philanthropists -- some noteworthy as well as others heretofor less renowned. Part Two offers us a kaleidoscope of public and private philanthropy, ranging from the Ford and MacArthur Foundations to the American corporate giants of the Disney Corporation and Clear Channel Communications.
Schankes text gives us an almost photo-journalistic view of the evolution of patronage and philanthropy in America, and in so doing, gives us a new perspective on the evolution of the American theatre. Schanke has shown those of us who work in the American professional theatre (and those that aspire to) that the audience who views our productions, and the angels who help support our productions, have their own intriguing, and important stories to tell.
Details and Order: http://www.artsmanagement.net/Books-id-711.html
Robert Schanke, in his recently published Angels in the American Theatre: Patrons, Patronage, and Philanthropy, offers us an outstanding overview of the evolution of arts funding in the United States, through the lense of patrons and philanthropists themselves. His introduction takes us through a historically accurate and appropriately condensed timeline of American patronage and philanthropy, while helping us to understand along the way what makes these endeavors unique in America. The introduction alone, entitled He Who Pays the Piper Calls the Tune, should be required reading for American theatre training programs, as it helps the reader to understand the somewhat cyclical nature of American patronage between private, corporate and public support.
In addition to Schankes outstanding introduction, is an outstanding assortment of essays by leading academics from throughout the country. Part One of the text offers us a composite of essays of individual philanthropists -- some noteworthy as well as others heretofor less renowned. Part Two offers us a kaleidoscope of public and private philanthropy, ranging from the Ford and MacArthur Foundations to the American corporate giants of the Disney Corporation and Clear Channel Communications.
Schankes text gives us an almost photo-journalistic view of the evolution of patronage and philanthropy in America, and in so doing, gives us a new perspective on the evolution of the American theatre. Schanke has shown those of us who work in the American professional theatre (and those that aspire to) that the audience who views our productions, and the angels who help support our productions, have their own intriguing, and important stories to tell.
Details and Order: http://www.artsmanagement.net/Books-id-711.html
A review by Suzanne Celentano, MFA, correspondent, Washington D.C.
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