The Federal Theatre Project (FTP) was a New Deal project to fund theatre and other live artistic performances in the United States during the Great Depression. It was one of five Federal One projects sponsored by the Works Progress Administration (WPA). The FTP's primary goal was employment of out-of-work artists, writers, and directors, with the secondary aim of entertaining poor families and creating relevant art.
Read more about Federal Theatre Project: Background, African American Theatre
Other articles related to "federal theatre project, theatre project, project, theatre":
... The Negro Theatre Project (NTP) was part of the Federal Theatre Project (FTP) and had units that were set up in cities throughout the United States ... The project provided employment and apprenticeships to black playwrights, directors, actors, and technicians ... The project offered a much needed source of assistance for African American theatre from 1935 to 1939 ...
... conventions in favor of the more direct, experimental techniques of agitprop theatre, including the extensive use of multimedia ... Revolution, the English term is most often associated with the Living Newspapers produced by the Federal Theatre Project ... under the Works Progress Administration in the United States of the 1930s, the Federal Theatre Project wrote and presented a number of Living Newspapers on social issues of the day ...
... and masses of people, including theatre folk, out of work, Franklin D ... Among the numerous segments of this program was the Federal Theatre Project aimed at employing out-of-work entertainers ... Hopkins, who had read Flanagan's 1928 book "Shifting Scenes of the European Theatre", asked Flanagan to lead this program ...
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“From a bed in this hotel Seargent S. Prentiss arose in the middle of the night and made a speech in defense of a bedbug that had bitten him. It was heard by a mock jury and judge, and the bedbug was formally acquitted.”
—Federal Writers’ Project Of The Wor, U.S. public relief program (1935-1943)
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“... the theatre demanded of its members stamina, good digestion, the ability to adjust, and a strong sense of humor. There was no discomfort an actor didn’t learn to endure. To survive, we had to be horses and we were.”
—Helen Hayes (1900–1993)