THE FEDERAL THEATRE PROJECT
HELEN TAMIRIS
Helen Tamiris
1902- 1966
Choreographer
Written and Performed by: Katie Beazley
Setting: New York City, New York, 1937
It’s the evening of June 10th – nearly June 11th, now. Helen Tamiris shares a drink and frustrations with her friend and fellow dancer Pauline Tish. Tamiris has heard rumblings of big changes happening to the Federal Dance Project, partially because of an all-night strike following the May 17th performance of How Long, Brethren?
Thank you again for coming over, Paulie.
I’m just so… gobsmacked by what’s happening. I need a friend. And a drink.
(pouring)
Help me process this: How can I win best group choreography for a show that’s a part of the project, and the project get shut down? (drink) Does the project have to dissolve? New York City is for this; LaGuardia himself is for this. Why can’t Washington see that?
(drinking)
I just find it ridiculous and unfair. I mean, a sold-out audience willingly stays for a sit in following a show, and it still isn’t enough. Worse than that - folks are getting punished for asking for more, for trying to make a difference. (drink) Hell, you expect a slew of dancers not to be invested in action, (cup down) in a movement-based movement?
There isn’t there even an ounce of red in what we’re doing – OK, maybe in the lighting. But this isn’t about the “proletariat”. (drink) This is about the individual’s role and how the autonomy of self-interacts with the collective. My main job as choreographer, as leader of this group, is to provide conditions under which the group can recognize its creative strength. I’m here to be a part of this, but I’m here for you – for them - for the welfare of dancers, for the ability to focus on creating rather than surviving. I come forward as our collective leader.
What is she doing as our collective leader? (drink) No, no, I’m serious. To what end is Flanagan fighting for these conditions for all of us - not just the easy parts of the project. It’s not just dance I see being dismissed. What about the Negro Theater Project? Are we both children she’s ready to just lose because it makes it easier, less complicated?
What a privilege she has – to be the mother of this great big network of artists. I feel like a mother whose child was taken away. I’ve carried the Federal Dance Project since its conception yet never have had the privilege to hold it in my hands, to actually call it mine.
(drink) I’m not a mother but I can’t imagine giving up something as precious as this.
(drink)
Well, we aren’t going to give up. We’re going to keep going, keep doing, keep trying. She can decide whether to listen or watch or not. (cheers glasses)
Perry Bruskin • Martin Dies • Hallie Flanagan (1935) • Hallie Flanagan (1939) • Rosamond Gilder • Susan Glaspell • Hazel Huffman • Frida Kahlo • Mary Merrill • Virginia Nicholson • Elmer Rice • Eleanor Roosevelt (1935) • Eleanor Roosevelt (1939) • Franklin Delano Roosevelt • Olive Stanton • Helen Tamiris • Orson Welles • Artwork • Collaborators • Directors’ Note • Front Page Tableau • Music • Pen Pals • Research/Source Material • Share Your Thoughts • Special Thanks