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Theatre in Pittsburgh
Theatre in Pittsburgh has existed professionally since the early 1800s and has continued to expand, having emerged as an important cultural force in the city over the past several decades.〔(【引用サイトリンク】title=History )〕
==History==
The heritage of theatre in Pittsburgh stretches back to at least 1765, when it was recorded that "balls, plays, concerts, and comedies" were being performed at the British military installation at Fort Pitt.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 4. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011.〕 Subsequently, amateur "thespian societies" emerged, including the Thespian Society that was organized by students of the Pittsburgh Academy in 1810, the forerunner of the University of Pittsburgh, in order to stage popular comedies and musical entertainment.〔 These students included Henry Marie Brackenridge, the son of university founder Hugh Henry Brackenridge; Morgan Neville, the son of Presley Neville; and future U.S. Congressman and Senator William Wilkins. This club was frequently mentioned by travelers commenting on the early culture of Pittsburgh, however it was disbanded by university faculty in 1833 because, according to Agnes Starrett's 1937 history of the university, "instead of Shakespeare, the members had begun to produce vulgar modern comedies".
Throughout the 1800s, Pittsburgh was home to various stock companies, beginning with the Theatre on Third Street, Pittsburgh's first free-standing playhouse, in 1813.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 12. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011.〕 These companies were composed of eight to ten local actors, a stage manager and prompter, a stage carpenter, a properties master, and occasionally an orchestra leader; the local actors would perform with touring "stars" such as William Macready, Edwin Forrest, Junius and Edwin Booth, Charles Kean, Charlotte Cushman, James Hackett, and Edwin Adams.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 33–34. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011.〕 An important milestone in the creation of indigenous Pittsburgh theatre occurred when William Henderson took over the lease of the Old Drury in 1859 and produced plays by Pittsburgh playwrights in the theatre's season. Other theatres followed Henderson's lead, including the Pittsburgh Opera House, which held the first productions of nationally regarded playwright Bartley Campbell.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 38–40. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011.〕
In the early 1900s, Pittsburgh became a key location for productions handled by the Theatrical Syndicate due to its strategic location, abundance of playhouses, excellent rail service, and established audiences. Sam Nixon and Fred Zimmerman's building of the Nixon and the Gayety (now Byham Theater) attracted touring productions of successful Broadway plays as well as international ballet and opera companies. Harry Davis, another theatrical entrepreneur in the early 1900s, founded the Family Avenue Theater and the Pittsburgh Opera House, which produced melodramas and standard plays as well as showed films. In the early 1910s, concern over the lack of serious or "legitimate" theatre in Pittsburgh led to an "art theater movement" that involved the establishment of the Pitt Theatre Company of Pittsburgh in 1913, the Drama League of Pittsburgh in 1912, and in 1914, the establishment of the nation's first bachelor of arts degree in theater at Carnegie Tech.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 70–77. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011〕 In the 1920s, vaudeville became very popular in Pittsburgh, and the Little Theatre Movement was represented by many independent, noncommercial theater companies such as People's Playhouse of the North Side, the Suburban Theater of the South Hills, the Tarkington Theater, the Pitt Players, and the Duquesne University Red Masquers. During the Great Depression in the 1930s, noncommercial theater became more culturally important and political in nature, exemplified by the New Theater of Pittsburgh, organized in 1935. Black theater also became a more important cultural force at this time, most notably with the Olympian Players. The Negro Drama League was formed in 1932 to support the vibrant theatrical activity of African-Americans in Pittsburgh. Jewish theatrical activity also became more prominent in Pittsburgh at this time, notably with the Irene Kaufmann Settlement Players. German and Catholic theatre developed a presence as well. Civic theaters devoted to a sense of civic theatrical identity grew in popularity; the still-active Pittsburgh Playhouse, established in 1934, is the most enduring theatre of this movement.〔Conner, Lynne (2007). Pittsburgh In Stages: Two Hundred Years of Theater. University of Pittsburgh Press. pp. 92–133. ISBN 978-0-8229-4330-3. Retrieved June 6, 2011〕
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