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Topic: Hallie Flanagan

	Hallie Flanagan links
		Hallie Flanagan, who had come to Vassar in 1925 as Professor of English, was made director of the Experimental Theatre.
		Hallie Flanagan, Director of the Experimental Theatre, sailed for Europe in charge of a group of ten instructors, to study the
		Hallie Flanagan Davis, on leave from Vassar, was National Director of the Federal Theatre Project, 1935-1939.
	www.users.drew.edu /~rmclaugh/Hallie_Flanagan/Hallie-links.html (197 words)

	Hallie's Comet
		Around this time, Hallie remained resolutely focused on her mandate to create a truly national theatre, making tireless tours of the country in an effort to ensure that all the regional units were running well and maintaining high standards.
		Hallie was willing to concede that many of her productions were expressions of propaganda, but insisted that propaganda was a form of education for democracy, rather than a tool for advancing Communist doctrine.
		Hallie learned about this development from a newspaper someone handed her, shocked that Congress had decided on what she called "outright execution rather than slow strangulation." There would be rallies on behalf of the Federal Theatre.
	www.hotreview.org /articles/halliescomet.htm (3245 words)

	Hallie Flanagan Biography
		Hallie Flanagan (1890-1969) was a director, playwright, and educator who headed the Federal Theater Project, America's first national, federally-funded theater organization, from 1935 to 1939.
		Co-authored by Flanagan and Margaret Ellen Clifford, the play was a carefully documented dramatization of a recent Arkansas drought that was controversial in both form and content as it revealed a rural world of hunger and privation neglected by governmental bureaucracy.
		Flanagan remained at Vassar until 1942, at which time she left for a similar teaching and directing position at Smith College in Massachusetts.
	www.bookrags.com /biography/hallie-flanagan (783 words)

	UW Press - : Voices from the Federal Theatre, Bonnie Nelson Schwartz and the Educational Film Center, Congressional ...
		Flanagan, I want to take this opportunity of telling you how profoundly thrilled I have been in listening to this magnificent contribution of the splendid work that the Federal Theater has rendered to this country, working under your supervision, and aided by Mrs.
		Flanagan and her assistants have done a great deal of humanitarian work, but the question I want to ask now is this: How are you going to carry on that work you have done in the past if we Congressmen do not appropriate sufficient funds to carry on the work?
		Flanagan's statement that the fear that the theater, as constituted, was in competition with private industry of various kinds was somewhat on the decline.
	www.wisc.edu /wisconsinpress/books/VoicesBeforeCongress.htm (9427 words)

	align="center" THE FEDERAL THEATRE PROJECT AND THE LIVING NEWSPAPER
		Flanagan stressed that the theatre should be "free, adult, uncensored theatre", relevant to modern life, experimental, artistically, reflecting the social and economic forces of the contemporary world.
		Flanagan replied to the charge of the Communist propaganda with the statement that most federal plays were either classics or native American dramas.
		As Hallie Flanagan observed, the South had "rich dramatic material in the variety of peoples, the historical developments, the contrasts between rural civilization and the growing industrialization" (12) The Florida project was the most active in fostering the presentation of new plays.
	www.let.uu.nl /ams/xroads/1theatre.htm (2309 words)

	Federal Theatre Project Collection: Melodrama, Social Protest, and Genius
		Flanagan's own background as director of the Experimental Theatre at Vassar College, as former production assistant to George Pierce Baker at Yale, and as the first woman to receive a Guggenheim Fellowship, which she used to study theater production in Europe, made her an ideal choice for the job, as Mrs.
		Flanagan pored over the unemployment figures in the professional theater and studied the programs that had been used to alleviate the problems.
		It was with this plan in mind that Hallie Flanagan drew up her own initial proposal, modest by comparison with Rice's, which provided for the employment of approximately seventy-five hundred persons.
	lcweb2.loc.gov /ammem/fedtp/ftbrwn01.html (1500 words)

	Introduction to Theatre -- Federal Theatre Project (Site not responding. Last check: 2007-10-31)
		He hired Hallie Flanagan (1898-1969), who was a teacher and director at Grinnel College in Iowa, in 1911.
		Hopkins hired Flanagan to be the head of the Federal Theater Project; which was divided into five areas—New York City, the East, the South, the Midwest, and the West.
		The incident was highly publicized (Flanagan said later that the publicity may have kept the FTP as free from censorship as it was).
	novaonline.nv.cc.va.us /eli/spd130et/s-f99/federaltheatre.htm (1894 words)

	uwnews.org \| University of Washington News and Information
		Boyce had picked up Flanagan's biography as an undergraduate, but it had sat unread until she was required to direct a show using material she'd adapted from an existing source.
		Boyce said that although the play deals mainly with the years that Flanagan led the Federal Theatre Project, it is framed by a much later scene that pictures Flanagan as an educator at Smith, where she taught after Congress killed the project.
		While "Hallie's girls" were planning the symposium, Witham raised funds to finance restoring the models, which he says were in remarkably good shape.
	uwnews.org /uweek/uweekarticle.asp?articleID=24003 (1074 words)

	House Committee on Un-American Activities - dKosopedia
		In 1938 Hallie Flanagan, the head of the Federal Theatre Project was subpoenaed to appear before the committee to answer the charge that the project was overrun with communists.
		Flanagan was called to testify for only a part of one day, while a clerk from the project was called in for two entire days.
		This may have had something to do with the fact that one of the members of the committee embarrassed himself by asking whether the Elizabethan playwright Christopher Marlowe was a member of the Communist Party.
	www.dkosopedia.com /w/index.php?title=House_Committee_on_Un-American_Activities&printable=yes (692 words)

	Smithellanea: Remembering a Theatrical Trailblazer
		But it was her work as head of the short-lived Federal Theatre Project (FTP) from 1936 to 1939 that brought Flanagan, who stood five feet tall and favored flowing capes and enormous hats, to the attention of Robbins.
		Eventually Flanagan's fight with the House committee disappeared into the shadows of history, and now only a few people remember the name of the woman who once was known to many as a visionary of the Depression.
		In 1942 Flanagan arrived at Smith, where she spent the next 13 years, serving as dean, professor of drama and theatre and director of theatre, and initiating Smith's drama theatre major.
	www.smith.edu /newssmith/NSSpring00/hallie.html (553 words)

	Hallie Flanagan Davis Papers, 1938-1964 : Biographical/Historical Note
		Hallie Flanagan Davis, previously known as Hallie Ferguson, was born on August 27th, 1890 in Redfield, South Dakota.
		In 1924/5, Hallie Flanagan Davis was an Associate Professor at Grinell College, and the founder of their Experimental Theater.
		In 1935, Flanagan Davis was asked to head the Federal Theater Project, which was part of the New Deal's W.P.A. She served as the head of the project until its end.
	asteria.fivecolleges.edu /findaids/smitharchives/manosca53_bioghist.html (297 words)

	City Pages - The Red Curtain
		Hallie Flanagan was considered one of the brightest young experimental-theater minds in the country when she accepted the job of director of the FTP.
		Because of Flanagan's influence, the drama of the FTP became what producer John Houseman called "the liveliest, most innovative, and most original theatre of its era." It introduced the abstract political expression of Brecht and Meyerhold's Europe to the United States--an introduction that was essential to the experimental theater revolution in the 1960s.
		Flanagan in which she states, 'The worker's theatres intend to shape the life of this country, socially, politically and industrially.
	www.citypages.com /databank/19/923/article5735.asp (3283 words)

	HistoryLink Essay: Federal Theatre Project
		National Director Hallie Flanagan envisioned the FTP not only as work-aid to technicians and performers, but also as an opportunity to seed the nation with a vast network of theaters and to expose many Americans to live theater for the first time.
		Hallie Flanagan’s character and motives were attacked both by the Dies committee and by disgruntled Project members called as witnesses.
		Flanagan responded that they were in fact propaganda for democracy since they utilized constitutional freedoms to point out America’s most pressing problems (Bentley).
	www.historylink.org /essays/output.cfm?file_id=3978 (2185 words)

	Suspicion of Subversion: Congressional Conservatives Attack the Federal Theater Project
		FLANAGAN: The chief localities are, first, New York City, and next Los Angeles and Chicago, because that is where the greatest unemployment exists.
		FLANAGAN: I do want to discuss them, because that allegation was made here by one of your witnesses, which I would not like to remain in the minds of any of you around this table.
		FLANAGAN: Put in the record that he was the greatest dramatist in the period immediately preceding Shakespeare.
	historymatters.gmu.edu /d/131 (825 words)

	Introduction
		To generate an “authoritative dramatic treatment,” Hallie Flanagan, head of the FTP, created a staff of the Living Newspaper which “was set up like a large city daily, with editor-in-chief, managing editor, city editor, reporters and copyreaders.” (1) The process was composed of three steps.
		Rumors were afloat that “an organization called the World War Veterans threatened to close the show on the ground that it was unpatriotic” and that “performers would be hauled off the stage and into patrol wagons.” The actors' fear of arrest coupled with their mistrust of the genre itself made the backstage atmosphere unsettling.
		In its attempt to represent a cross-section of American thought, Triple-A's inclusion of quasi-communistic rhetoric was merely a result of its democratic sampling of diversity, formulating a rhetoric that is “of the people” by means of sharp and myriad juxtapositions.
	xroads.virginia.edu /~MA04/mccain/audiohist/intro.htm (1333 words)

	Federal Theatre Project Collection: Melodrama, Social Protest, and Genius
		One person whose talents he sought was Hallie Flanagan, then director of the Vassar Experimental Theatre in Poughkeepsie, New York.
		Flanagan wired other people in the theatrical world for information on the subject of unemployed actors: Frank Gillmore, president of Actors' Equity; Dr. Moskowitz, president of the League of New York Theatres; Theresa Helburn, Theatre Guild; Cheryl Crawford, Group Theatre; Edith Isaacs, Theatre Arts Monthly; and producer-playwright Elmer Rice.
		Flanagan was sworn in on August 27, 1935, in Iowa City on the occasion of laying the cornerstone for the new University of Iowa Theater.
	memory.loc.gov /ammem/fedtp/ftbrwn01.html (1500 words)

	HistoryLink Essay:Negro Repertory Company
		The African American units of the Federal Theatre Project were part of national Director Hallie Flanagan’s vision to create a pervasive and uniquely American theater.
		Federal Theatre Project director Hallie Flanagan believed Seattle’s Negro unit to be among the best in the country.
		Hallie Flanagan’s former Vassar College friend, Esther Porter Lane, arrived in Seattle and assumed charge of the unit.
	www.historylink.org /essays/printer_friendly/index.cfm?file_id=3976 (1637 words)

	"The Yeast which Makes the Bread Rise": Hallie Flanagan on Drama as Politics
		By the 1930s, theater was rapidly losing its audiences to movies, and Flanagan sought to win audiences back by revitalizing drama with the excitement and conflict of contemporary life and politics.
		Her energy and sense of urgency came through in this talk on theater as social action, entitled “First Federal Summer Theatre: A Report.” She borrowed the rhetoric of the militant labor movement as she summarized the work of a 1937 summer project that gathered FTP workers from around the country.
		Source: Hallie Flanagan, “Theater as Social Action,” in Piere de Roban, ed., “First Federal Summer Theater: A Report,” Federal Theatre, June-July 1937: 36 (A project newsletter available in Federal Theatre Project collection, Library of Congress).
	historymatters.gmu.edu /d/5103 (442 words)

	Grinnell College - Theatre Department Facilities
		HALLIE B. This theatre was built in recognition of Hallie Flanagan Davis’s (class of 1911) work.
		Flanagan was national director of the Federal Theatre project, among many other wonderful commitments to the theatre world.
		With a catwalk and tension grid combined with flexible seating and stage arrangements, the Flanagan is our most versatile theatre.
	www.grinnell.edu /theatre/facilities/flanagan.html (78 words)

	An Hour Upon the Stage: The Brief Life of the Federal Theatre
		“Hallie was doing versions of the living newspaper in every major city in the country, as well as finding what was regional and essentially native to the city for their own productions,” says Brustein.
		Flanagan had in fact written to one of her producers, “I will not have the Federal Theatre used politically.
		“Hallie was willing to concede that many of her productions were expressions of propaganda, but insisted that propaganda was a form of education for democracy, rather than a tool for advancing Communist doctrine,” Brustein writes.
	www.neh.gov /news/humanities/2003-07/federaltheatre.html (2282 words)

	Smith College: Theatre
		The Mendenhall Center is home to the department office; the 460-seat Theatre 14, a gift in honor of the Class of 1914; and the fl-box Hallie Flanagan Studio Theatre.
		Hallie Flanagan Studio Theatre, a versatile facility named for Hallie Flanagan Davis, director of theatre at Smith from 1942 to 1955 and famed for her innovations in dramatic production, gives performers freedom in set and production design.
		Students draw on the extensive collection of texts, scripts, scores and recordings housed in Josten Library; Josten holds more than 51,000 recordings and a multitude of diverse scripts, and maintains listening rooms and stations for student use.
	www.smith.edu /theater/facilities.php (281 words)

	MR. EURIPIDES GOES TO WASHINGTON - New York Times
		She was, on the face of it, an improbable choice to be the project's director.
		But they were soon answered, those who derided Hallie Flanagan as an amateur, or patronized her as a woman, or wondered if she'd been appointed because she had gone to school with the all-powerful Harry Hopkins, F.D.R.'s confidant.
		It's a gap worth filling and it is well filled by Joanne Bentley, a biographer who writes with verve and insight, and with the authority of someone who is, as it happens, her subject's stepdaughter.
	query.nytimes.com /gst/fullpage.html?res=940DE0DA153DF93BA2575AC0A96E948260 (700 words)

	Cradle Will Rock 6 (Site not responding. Last check: 2007-10-31)
		Hallie Flanagan on Aug. 27, 1935, became director of the Federal Theatre Project (FTP) that would reach 25 million Americans with 1000 plays in 50,000 performances produced by 12,000 actors, directors, stagehands in 40 theaters in 20 states.
		She was described by John Houseman as "a small, forthright, enthusiastic lady with strong teeth, whose matted reddish hair lay like a wig on her skull and who seemed to take her vast responsibilities with amazing self-confidence and sang-froid." (Gustaitis p.
		Flanagan testified Dec. 6, 1938, with Ellen Woodward of the WPA.The Committee branded most playwrights in the history of theater as communists, including Christopher Marlowe and Euripedes.
	history.acusd.edu /gen/filmnotes/cradlewillrock6.html (678 words)

	Federal Theatre Project - Special Collections - University of Iowa Libraries - The University of Iowa (Site not responding. Last check: 2007-10-31)
		Under the direction of a feisty, strong-willed woman named Hallie Flanagan, they were put to work in their own fields.
		By mid-1936, 153 producing theaters were operating in 28 of the 48 states, playing to 359,000 people weekly, many of whom had never seen live theater before.
		"The Contributions of Hallie Flanagan to the American Theatre." Ph.D. dissertation, University of Colorado, 1971.
	www.lib.uiowa.edu /spec-coll/MSC/ToMsc350/MsC314/MsC314_fedtheatre.htm (1097 words)

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