[ebooks] Veit Harlan: The Life and Work of a Nazi Filmmaker (Screen Classics) by Frank Noack in Arts-Photography

Description

To most people; the term "opera house" conjures up images of mink-coated dowagers accompanied by tuxedo-clad men in the gilded interiors of opulent buildings like the Met in New York or La Scala in Milan. However; the opera house in the United States has a far more varied-and far more interesting-history than that stereotype implies. In Local Glories; Ann Satterthwaite explores the creative; social; and communal roles of the thousands of opera houses that flourished in small towns across the country.By 1900; opera houses were everywhere: on second floors over hardware stores; in grand independent buildings; in the back rooms of New England town halls; and even in the bowels of a Mississippi department store. With travel made easier by the newly expanded rail lines; Sarah Bernhardt; Mark Twain; and John Philip Sousa entertained thousands of townspeople; as did countless actors; theater and opera companies; innumerable minor league magicians; circuses; and lecturers; and even 500 troupes that performed nothing but Uncle Toms Cabin. Often the towns only large space for public assembly; the local opera house served as a place for local activities such as school graduations; recitations; sports; town meetings; elections; political rallies; and even social dances and roller skating parties. Considered local landmarks; often in distinctive architect-designed buildings; they aroused considerable pride and reinforced town identity. By considering states with distinctly different histories--principally Maine; Nebraska; Vermont; New York; and Colorado--Satterthwaite describes the diversity of opera houses; programs; audiences; buildings; promoters; and supporters--and their hopes; dreams; and ambitions.In the twentieth century; radio and movies; and later television and changing tastes made these opera houses seem obsolete. Some were demolished; while others languished for decades until stalwart revivers discovered them again in the 1970s. The resuscitation of these opera houses today; an example of historic preservation and creative reuse; reflects the timeless quest for cultural inspiration and for local engagement to counter the anonymity of the larger world. These "local glories" are where art and community meet; forging connections and making communities today; just as they did in the nineteenth century.