Download e-book for kindle: Angels in the American Theater: Patrons, Patronage, and by Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis

By Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis GREENE, Jennifer SCHLUETER, Dan Friedman, David A. Crespy, John R Poole, Barry B Witham, Sheila Anderson, Bruce Kirle Ph.D., Stephen D Burwind, Jeffrey Eric Jenkins, Ullom, Kathy L Privatt, Dr. An

ISBN-10: 0809327473

ISBN-13: 9780809327478

Angels within the American Theater: consumers, Patronage, and Philanthropy examines the numerous roles that theater consumers have performed in shaping and constructing theater within the usa. simply because field place of work source of revenue not often covers the price of construction, different resources are very important. Angels—financial traders and backers—have an important influence on what occurs on level, usually picking with the ability and effect in their cash what's conceived, produced, and played. yet regardless of their impression, little or no has been written approximately those philanthropists.

 

Composed of 16 essays and fifteen illustrations, Angels within the American Theater explores not just how donors grew to become angels but additionally their backgrounds, motivations, regulations, obstacles, help, and successes and screw ups. topics variety from millionaires Otto Kahn and the Lewisohn sisters to origin giants Ford, Rockefeller, Disney, and transparent Channel. the 1st booklet to target theater philanthropy, Angels within the American Theater employs either a old and a chronological structure and makes a speciality of person buyers, foundations, and corporations.

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Extra info for Angels in the American Theater: Patrons, Patronage, and Philanthropy

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Otto Kahn was self-conscious, at least, that sexual games could tarnish critical judgment. 54 At time of his death, in 1934, an editorial in the World Telegram still suggested that “Broadway’s slang phrase ‘angel’ might have been coined 32 modern cosmopolitan just for Otto H. ”55 Notes I wish to gratefully acknowledge the comments of participants at the International Conference on Scenography: “Patronage, Spectacle, and the Stage,” Prague, June 18–22, 2003; the assistance of Maryann Chach, director of the Shubert Archive in New York; and the generosity of Esther Katz, Maria Vasio, Franca Zambonino, and Max Moss.

28 After 1918, Kahn would believe the greater deterrent to theatrical philanthropy was the punishing effect of federal personal income taxes,29 but another regular impediment was the risk of moral censure, which crops up more readily with the theater than with hospitals, colleges, libraries, and similar charities. An additional dilemma in America was the absence of public funding, as compared with that in Europe, where governments and municipalities were better attuned to the “pubic utility” of subsidizing theaters and operas.

It played out in Kahn’s mansions, at his business offices, on 21 theresa m. collins his yachts, in his hotel suites. There always seemed to be a coterie of publishers, playwrights, producers, composers, and other talents prepared to try a pitch on him. Whether their careers were rising, stalling, fading, or shining, they looked to Kahn for money, advice, referrals, and recognition. ”2 In one way or another, Otto Kahn’s support of operas, plays, films, ballets, and music—all arts with theatrical potential— defined a long era of opportunities for theatrical talent and initiatives.

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Angels in the American Theater: Patrons, Patronage, and Philanthropy by Robert A Schanke, Theresa M COLLINS, Melanie Blood, Alexis GREENE, Jennifer SCHLUETER, Dan Friedman, David A. Crespy, John R Poole, Barry B Witham, Sheila Anderson, Bruce Kirle Ph.D., Stephen D Burwind, Jeffrey Eric Jenkins, Ullom, Kathy L Privatt, Dr. An


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