{"title":"周四至九点:左翼联盟在舞台上","authors":"Lisa Milner","doi":"10.1080/14743892.2021.1929671","DOIUrl":null,"url":null,"abstract":"This was not a one-off, but was one of thousands of plays written and sponsored by American unions, and performed by American union members. One quote explains the union movement’s support of drama: “In the case of the individual, culture may be just personal pleasure and enjoyment. But when groups, social classes, the people, are involved, culture is a tool. It serves them to strengthen the base and to extend the scope of their organisation.” The American union movement’s use of theater has a history of over a hundred years. In the past two decades, the traditional concerns of labor historians—studies of industrial action, trade unions, and working-class struggles—have been widened to include a rich array of artistic and intellectual themes, and this has served to extend the boundaries of labor history into cognate fields of inquiry, including cultural and artistic studies. A notable example is Michael Denning’s masterly 2010 work The Cultural Front: The Laboring of American Culture in the Twentieth Century. Whilst this new agenda has brought life to studies of various types of culture, scholarship on union theater as a component of the culture of labor has been thin on the ground. Until recent years, single studies of the more popular union productions have emerged, such as the well-known Pins and Needles, a play by the International Ladies Garment Workers Union (ILWGU) that reached Broadway. Scholars have also studied the broad area of American workers’ and left-wing theater, as well as the short-lived Federal Theater Project, which sometimes intersected with union culture. This is despite the fact that","PeriodicalId":35150,"journal":{"name":"American Communist History","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14743892.2021.1929671","citationCount":"0","resultStr":"{\"title\":\"Thursdays Till Nine: Left-wing Unions on the Stage\",\"authors\":\"Lisa Milner\",\"doi\":\"10.1080/14743892.2021.1929671\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This was not a one-off, but was one of thousands of plays written and sponsored by American unions, and performed by American union members. One quote explains the union movement’s support of drama: “In the case of the individual, culture may be just personal pleasure and enjoyment. But when groups, social classes, the people, are involved, culture is a tool. It serves them to strengthen the base and to extend the scope of their organisation.” The American union movement’s use of theater has a history of over a hundred years. In the past two decades, the traditional concerns of labor historians—studies of industrial action, trade unions, and working-class struggles—have been widened to include a rich array of artistic and intellectual themes, and this has served to extend the boundaries of labor history into cognate fields of inquiry, including cultural and artistic studies. A notable example is Michael Denning’s masterly 2010 work The Cultural Front: The Laboring of American Culture in the Twentieth Century. Whilst this new agenda has brought life to studies of various types of culture, scholarship on union theater as a component of the culture of labor has been thin on the ground. Until recent years, single studies of the more popular union productions have emerged, such as the well-known Pins and Needles, a play by the International Ladies Garment Workers Union (ILWGU) that reached Broadway. Scholars have also studied the broad area of American workers’ and left-wing theater, as well as the short-lived Federal Theater Project, which sometimes intersected with union culture. This is despite the fact that\",\"PeriodicalId\":35150,\"journal\":{\"name\":\"American Communist History\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-04-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1080/14743892.2021.1929671\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"American Communist History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/14743892.2021.1929671\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"American Communist History","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14743892.2021.1929671","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
Thursdays Till Nine: Left-wing Unions on the Stage
This was not a one-off, but was one of thousands of plays written and sponsored by American unions, and performed by American union members. One quote explains the union movement’s support of drama: “In the case of the individual, culture may be just personal pleasure and enjoyment. But when groups, social classes, the people, are involved, culture is a tool. It serves them to strengthen the base and to extend the scope of their organisation.” The American union movement’s use of theater has a history of over a hundred years. In the past two decades, the traditional concerns of labor historians—studies of industrial action, trade unions, and working-class struggles—have been widened to include a rich array of artistic and intellectual themes, and this has served to extend the boundaries of labor history into cognate fields of inquiry, including cultural and artistic studies. A notable example is Michael Denning’s masterly 2010 work The Cultural Front: The Laboring of American Culture in the Twentieth Century. Whilst this new agenda has brought life to studies of various types of culture, scholarship on union theater as a component of the culture of labor has been thin on the ground. Until recent years, single studies of the more popular union productions have emerged, such as the well-known Pins and Needles, a play by the International Ladies Garment Workers Union (ILWGU) that reached Broadway. Scholars have also studied the broad area of American workers’ and left-wing theater, as well as the short-lived Federal Theater Project, which sometimes intersected with union culture. This is despite the fact that