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허순자 한국연극교육학회 2003 연극교육연구 Vol.9 No.-
Following the author Mary C. Henderson's assumption that the "history of the producer is also the history of the theater in America", producer Joseph Papp, indeed, made history in American theatre during the second half of the twentieth century. As the founder of the 'Joseph Papp Public Theatre/New York Shakespeare Festival'(abbr. NYSF), he made an unparalleled contribution to the development of theatre in America through his enormous non-profit theatre operation. This venture has stretched from uptown Central Park to the downtown Lafayette Street Public Theatre, and at times, has even invaded to the profit-driven Broadway. The whole theatre scene in New York City, widely considered the cultural capital of the USA, was transformed by Papp's unprecedented style of theatre producing and management that were pursued primarily in the name of cultural philanthropy and expansion. In doing so, Papp widened the horizon of American theatre and put himself, consciously or unconsciously, in a leadership role that had long been unoccupied. It is impossible today to think about Broadway, Off-Off Broadway, and the major regional theatre centers around the US without first thinking of Papp's heritage demonstrated in his non-profit theatrical empire based in the cultural geography of New York City. This study examines what the producer Joseph Papp had envisioned and achieved in the course of his long and arduous commitment to American theatre. In order to uncover some of the possible clues, if not the final answers, to these questions, the writer investigates the true nature and chief ingredients of Papp's theatre policy by selecting some major issues and subjects considered appropriate for analysis. Following a brief introduction, the main body of the paper is divided into three sections. The first section outlines Papp's background and early days in theatre where his vision was first established. The second section analyzes the long and the most fruitful and highlighting years which stretch from the official launching of the NYSF in Central Park to the end of the 1970s. The third section focuses on the last 11 years in which slight changes in the managerial policy became inevitable. These changes move from the expansion-oriented strategy in previous years to the enrichment of artistic programs. The conclusion wraps up with producer Papp's vision and his policies and what he did meaningfully accomplished. Through the above study, the writer concludes that producer Papp's rare, or rather singular, vision of theatre for the general public was Messianic in both its fundamental spirit and scale. Papp's policies of producing and managerial schemes arose from his strong convictions in the civic function of theatre. Thus his utmost sense of expansion was utilized to achieve an uncomparable worthiness in practicing non-profit theatre. His unusual qualifications as a producer and his shrewd business acumen with entrepreneurial skills as good as those of top commercial theatres, combined with his own odd personality and whims contributed to Papp's great achievement and legacy in the development of American theatre. The most important contributions he made are the expansion of the audience, the revitalization of Shakespeare, and the nurturing of artistic talents. At the same time, he failed to achieve the level of success in many projects that he had dreamed of. Thus, many assignments were left to successive generations to resolve on their own. His untimely death left a critical void of leadership in American theatre. Nevertheless, as the foremost producer of his time, complete with both success and failure, he serves as a lively and productive model for many in this field.