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• W1548973906 abstract "This study of the theatre of the British Labour Movement hadits roots in 1985 when History Workshop published a collectionof documents relating to the Workers' Theatre Movements inBritain and America between 1880 and 1935. In his introductoryessay in Theatres of the Left, Raphael Samuel concludes thatthere are no traditions in British Labour Theatre except thosewhich have been broken or lost, thatThere is no continuous history of socialist oralternative history to be discovered, rather asuccession of moments separated from one another bya rupture (1).Since this conclusion was reached, others have repeatedSamuel's assertion in varying forms. So, Andrew Davies talksof scanty Chartist theatrical and of the mainstreamlab6ur movement in the 1920s remaining uninterested incultural matters and Ian Saville asserts thatthe conception of a partisan, organised theatredevoted to spreading the socialist messagethroughout the working classes only began to takeshape in Britain in the mid-1920s (2).Yet a cursory glance at the theatre which preceded theWorkers' Theatre Movement, a glance which Raphael Samuelprovides in his introductory essay on theatre and socialism inBritain, reveals I a plethora of activity in the labourmovement. From the Chartists and the Owlenites in the nineteenth century, through the Socialist Sunday Schools andthe Socialist League to the Clarion movement, the IndependentLabour Party and the Labour Party, the theatrical activitypointed to by Samuel is startling in comparison to anything wecan see today. What follows is an attempt to look at some ofthose moments, to look at the plays they produced and at bothhow and why working class political organisations looked tothe theatre, to try to ascertain if they were indeed no morethan broken threads and if so to try to account for why thismay be the case. It is also an attempt to re-examine some ofour notions of what is political theatre, for since thediscovery of the work of the Workers' Theatre Movement andsubsequently of the Actresses Franchise League much has beenmade of these as the starting point of political theatre inBritain. Yet, for a country with one of the longest traditionsof organised working class movements, such assertions seem atbest strange, at worst dishonest.One clue as to the reason for such claims can be found in thecharacterisation of the theatre of the organised working classprior to the Workers' Theatre Movement which has become commoncurrency. It was, in the words of Colin Chambers, primarilyof ethical and anti-militarist rather than directly political,or in the words of Raphael Samuel:First, the belief that it is their mission to bringthe working class into contact with great art (iecapitalist art) and second, the tendency to produceplays which may deal with the misery of the workerssmay even deal with the class struggleg but whichshow no way out, and which therefore spread afeeling of defeat and despair (3).Such definitions of what is (or rather what is not) politicaltheatre rest very heavily on a notion that political is mostimportantly propaganda. If the theatre that existed inconnection with political organisations prior to 1926 was notpropagandist then it follows for some that it was notpolitical. What follows is therefore also an attempt touncover a different approach, by looking at the groups ownjustifications for their involvement in theatrical ventures aspart of the struggle for socialism." @default.
• W1548973906 created "2016-06-24" @default.
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• W1548973906 date "1993-01-01" @default.
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• W1548973906 title "The theatre of the organised working class 1830-1930" @default.
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