Search

Focuses on the creative protest activity in New York City which is being planned for the Republican National Convention. Protest theater featuring political plays; Threat of a strike by police and fire fighters; Bells for peace; Street theater; Others.

This article deals with the guerrilla street action by the New York City Theater Workshop directed against the Actors' Equity Association which stopped traffic at Lincoln Square in New York on December 14, 1969. The background of the guerrilla action is simple. Four thousand youngsters were carefully auditioned over a two-year period and the 100 most talented were trained free and performed as members of the New York City Theater Workshop. This summer they gained national recognition for creating a new genre in street theater called a block celebration which literally moved into and lived in several ghetto neighborhoods. During the winter they developed a highly mobile indoor repertory. This is the program they were invited to perform at the Forum Theatre at Lincoln Center, traditionally a union house. But Equity stepped in and said no. A dialogue, recorded on video-tape, followed between and Equity representative and the teen-age company. Equity's policy, though admitted to be inequitable by the Equity representative herself, stood: the union prefers to have Equity houses stand idle on a dark night rather than to set a precedent of letting non-Equity actors present their experimental work in those theater buildings at little or no cost to the attending public. Clearly the Lincoln Center Repertory Theatre, which had issued the invitation, had more to lose than the Theater Workshop in starting a fight with the union, so the teen-age company set out alone. The kids asserted their need to train and be seen without paying fees and dues to the union. As there is no artistic standard for getting into the union in the first place, the kids naturally conclude that what Actors' Equity Association had to be doing was protecting mediocrity at the expense of new talent.

The article presents information on the Movies in the Streets program conducted on pavements and playgrounds of New York City. The program is the concept of the city's Urban Action Task Force. Nancy Eisenberg, director of the activity, discussed the procedure for preparing the motions pictures to be shown. The crew chiefs of the program include William Steele and Lionel Norman.

Focuses on the creative protest activity in New York City which is being planned for the Republican National Convention. Protest theater featuring political plays; Threat of a strike by police and fire fighters; Bells for peace; Street theater; Others.

The article focuses on the evolution of street dance in New York City. Topics discussed include the history of street dance, various styles that characterize street dance and the challenges faced by street dancers in the city. Also discussed is the role of the organization Rep Your Style in promoting street dance in New York City and the factors that influence audiences' perception of street dance.

This article describes a street performance held at the east side of West End Avenue in New York City on March 21, 1970. The participants were Stephen E. Weil, David N. Weil and Michael D. Weil. The show was conceived in two parts: A rigidly structured street work of fixed duration followed by an afterwork of indeterminate duration. Red and green pieces of paper were dropped on the sidewalk. The participants took turns in picking up the pieces of paper according to color while going towards opposite directions. The exercise resulted in different combinations of direction, color and movements. The afterwork consisted of returning the remaining sheets of paper were returned to the scratch pad from which they were taken, to be used for shopping lists, telephone messages and other non-art purposes. The street work has heightened the participants' awareness of other activities, their contact with the wind, the sidewalk, littering and cleaning, the interplay between rigidly prescribed tasks and unexpected elements, and the mysterious quality of the afterwork.