![]() Maurice Browne, director and co-founder of the Chicago Little Theatre with Ellen Van Volkenburg, responding to having often been called the founder of the Little Theatre Movement, instead credited Hull House director Laura Dainty Pelham with being the "true founder of the 'American Little Theatre Movement.'" Nevertheless, Browne and Van Volkenburg's company had, as the first little theatre to use the term, provided the movement with its name and inspired the creation in 1914 of Margaret Anderson's influential Chicago periodical The Little Review. In 1910, Mary founded there the Aldis Playhouse, "a predecessor to the 'little theater' movement." The Hull House settlement theatre group, founded by Jane Addams and Ellen Gates Starr, was the first to perform several plays by Galsworthy, Ibsen, and Shaw in Chicago. and Mary Aldis established an artists' colony called The Compound in Lake Forest, Illinois. Nevertheless, by the second decade of the 20th century, pure melodrama, with its typed characters and exaggerated plots, had become the province of motion pictures.Ĭhicago's philanthropists and arts patrons Arthur T. During a secret meeting in 1895, the owners of most of the theatres across America organized into a Theatrical Syndicate "to control competition and prices." This group, which included all major producers, "effectively stifled dramatic experimentation for many years" in search of greater profits. While not yet totally free of melodramatic elements, plays reflecting a style more associated with realism gradually emerged. During the last decades of the century, producers and playwrights began to create narratives dealing with social problems, albeit usually on a sensational level. These types of formulaic works could be produced over and over again in splendid halls in big cities and by touring companies in smaller ones. Sensational melodramas had entertained theatre audiences since the mid-19th century, drawing larger and larger audiences. History Conventional theater in 19th-century America In several large cities, beginning with Chicago, Boston, Seattle, and Detroit, companies formed to produce more intimate, non-commercial, non-profit-centered, and reform-minded entertainments. The Little Theatre Movement served to provide experimental centers for the dramatic arts, free from the standard production mechanisms used in prominent commercial theaters. Donations are tax-deductible to the extent allowable by law.As the new medium of cinema was beginning to replace theater as a source of large-scale spectacle, the Little Theatre Movement developed in the United States around 1912. RLT is a 501(c)(3) nonprofit organization. RLT is an active supporter of the Arts in Rome and Floyd County. The mission of RLT is to present amateur theatrical productions, encourage interest in drama, and contribute to the cultural and educational life of the community. Our success is built on the generous contributions of generations of volunteers, donors, and patrons. From its founding in 1933 to its WWII hiatus and its 1956 revival, and from its residencies at the Gordon Theatre and the Maple Street Community Center to its current home at the Historic DeSoto Theatre, RLT is woven artfully into the rich, historical fabric of Rome, Georgia.įor decades, RLT has been committed to entertaining, engaging, and educating our community through the practice and promotion of the theatre arts. Born of the American Little Theatre Movement, Rome Little Theatre is proud to be one of the oldest community theatres in the country.
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