Shawyer dissertation May 2008 final version - The University of ...

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- - - . “Flash Mob Flashback.” Cheesebikini? 29 Mar. 2006. Jan. 2008..Schechner, Richard. “Happenings.” TDR: Tulane Drama Review 10.2 (1965): 229-232.- - - . “Approaches to Theory/Criticism.” TDR: Tulane Drama Review 10.4 (1966): 20-53.- - - . “Speculations on Radicalism, Sexuality, and Performance.” TDR: The DramaReview 13.4 (1969): 89-110.- - - . Performance Theory. 1977. Rev. ed. New York: Routledge, 1988.- - - . Environmental Theater. 1973. 2 nd ed. New York: Applause, 1994.- - - . “What is Performance Studies Anyways?” The Ends of Performance. Ed.Peggy Phalen and Jill Lane. New York: New York UP, 1998. 357-362.Schlossman, David A. Actors and Activists: Politics, Performance, and Exchange AmongSocial Worlds. New York: Routledge, 2002.Shank, Theodore. Beyond the Boundaries: American Alternative Theatre. Rev. ed. AnnArbor: U of Michigan P, 2002.Shinayerson, Maggie and Goldstein, Lauren. “At Least They Don’t Do the Wave.” Time18 Aug. 2003: 20.Sloman, Larry. Steal this Dream: Abbie Hoffman and the Countercultural Revolution inAmerica. New York: Doubleday, 1998.Smith, Vicky. “Chicago: Bloodbath, Bastille, or Blast?” Liberation News Service 97(Aug.1968): 7-10.Staub, Michael E., ed. The Jewish 1960s: An American Sourcebook. Waltham, MA:Brandeis UP, 2004.Stern, Laurence. “Ugliness May Be Peace Protest’s Lasting Image.” Washington Post 22Oct. 1967: A10.Stern, Michael. “Political Activism New Hippie Thing.” New York Times 24 Mar. 1968:1, 72.242
Stewart, M. J. F. and Davis, Lisa. “Mob Rule.” SF Weekly 30 Jul. 2003. Jan. 2008..Students for a Democratic Society. “Port Huron Statement.” 1962. “Democracy is in theStreets”: From Port Huron to the Siege of Chicago. By James Miller. New York:Simon and Schuster, 1987. 329-374.Suvin, Darko. “Reflections on Happenings.” TDR: The Drama Review 14.3 (1970): 125-144.Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in theAmericas. Durham, NC: Duke UP, 2003.“They’re on the Same Page.” Austin American-Statesman 6 Nov. 2003: B5.Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play. New York:PAJ, 1982.Tytell, John. Naked Angels: The Lives and Literature of the Beat Generation. New York:McGraw-Hill, 1976.- - - . The Living Theatre: Art, Exile, and Outrage. New York, Grove, 1995.Unger, Irwin. The Movement: A History of the American New Left 1959-1972. NewYork: Dodd, Mead & Co., 1974.- - - . Turning Point: 1968. New York: Scribner, 1988.Viorst, Milton. Fire in the Streets: America in the 1960s. New York: Simon and Schuster,1979.Von Hoffman, Nicholas. “Yippies Trot Out Candidate–A Pig.” Washington Post 24 Aug.1968: A5.- - - . “Chicago, Chicago!” Washington Post 25 Aug. 1968: A1, A10.- - - . “Hippie Protesters Act Like Politicians Too.” Washington Post 26 Aug. 1968: A9.Walker, Leita. “Synchronized, Collective and So Far, Pointless.” Christian ScienceMonitor 4 Aug. 2003: 1.Wasik, Bill. “My Crowd: Or, Phase 5: A Report from the Inventor of the Flash Mob.”Harper’s Magazine 312.1870 (2006): 56-66.243
Page 1 and 2:
CopyrightbySusanne Elizabeth Shawye
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Radical Street Theatre and the Yipp
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Kokai, Olivia Whitmer O’Hare, Tam
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organizational strategies of the an
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IntroductionThe Chicago Poster:Cont
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adical hipsters, or counterculture
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linguistic theory, the field of per
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The language of performance thus al
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protest from theatre. 8 Mass demons
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performative has the potential to e
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evolution using methodological and
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Realist, suddenly noticed that when
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Revolution for the Hell of It is a
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The Yippies’ politics are clear i
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2). They embraced a romantic notion
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made up of many separate organizati
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and a free store on the Lower East
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When they formed the Youth Internat
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Most of the dozen core Yippies were
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acknowledgment that her business sk
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The claim of millions of Yippies wa
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Man to tease out the New Left’s n
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eports from the popular press, test
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Image of Yippie Chicago poster.47
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surround the Pentagon are a long wa
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the Conference for New Politics in
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Washington was no stranger to mass
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uilding in acts of civil disobedien
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had a history of civil disobedience
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the crowd into affinity groups by m
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Like Abbie Hoffman, Rubin was aware
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Krishna” and “Om” to their re
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Pentagon began its work for the wee
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A respectable horde of respectable
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that time was still expected to see
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It didn’t matter if there was dis
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democratic political-economic and c
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social activist Malcolm X, Communis
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The aesthetic of the New Left now t
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straight-laced emphasis on communit
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Unlike the young student politician
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on the improvised actions of variou
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society” by changing, not ignorin
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similar to the very same ones used
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scenery falls. The Yippies loved th
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unrest by the lower ranks of societ
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Don’t rely on words. Words are th
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writing to President Johnson from V
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wasn’t just their situation that
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freshly-shorn young men in army uni
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I also argue that blurring of life
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Armed with a budget of just $15.00
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ounced through the air above the cr
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they ran into again in Chicago when
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Yip-In moved into an unexpected sec
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Yippies had been publishing manifes
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experimental works. Like other New
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not Broadway, was the venue for pla
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adicalism of Off-Off-Broadway conte
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theater, and including it on their
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environment that pays special atten
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meaning or appreciate the aesthetic
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Since Happenings emerged from New Y
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that contrasted visual peaceful pro
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prominence of ordinary actions and
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The costumes of the Yip-In particip
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ecruit, several blocks from the hip
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free stores, or crash pads. In 1969
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The hippies and Yippies also used m
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from their weekday Establishment re
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perform the power of authority and
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commuters the actions and dress tha
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emotion and hope, like the “utopi
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Chapter ThreeThe Festival of Life:
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Double (1938). The Yippies used the
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anti-war views, and movement leader
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Republican candidate Richard Nixon;
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death, it seemed like Humphrey was
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American politicians. We’ll infil
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named themselves the Youth Internat
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if necessary, Mobe was unable to ge
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ut the Yippies’ signs supported a
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craze, offering a special section o
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efforts to bring performances to th
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commentary in the East Village Othe
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which Hoffman designated as ‘medi
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already in Chicago, and prepared to
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Even though many of the demonstrato
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with a fire-cracker throwing crowd
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Hilton to interview passing delegat
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political positions, merged to form
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protest against the order, rules, a
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experience the performance event wi
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The Battle of Michigan Avenue was a
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“It would take an inspired Artaud
Page 199 and 200: The letters in the Johnson Library
Page 201 and 202: watching” (Box 66). Korean War ve
Page 203 and 204: members who felt that the Yippies g
Page 205 and 206: Dismayed by his lack of action abou
Page 207 and 208: night of the Battle of Michigan Ave
Page 209 and 210: Chapter FourFlash Mobs: The Yippie
Page 211 and 212: that is, they were political only t
Page 213 and 214: as their primary political and cult
Page 215 and 216: 1969, “Four Days of Rage” campa
Page 217 and 218: The Festival of Life and the ensuin
Page 219 and 220: The Yippies’ revolutionary action
Page 221 and 222: Glasgow, Rome, Vienna, Berlin, Sydn
Page 223 and 224: and social conventions: flash mobs
Page 225 and 226: social behaviors, and the technolog
Page 227 and 228: organized by anyone with access to
Page 229 and 230: advantage of the dramaturgy of prot
Page 231 and 232: Yet the insider/outsider dynamic of
Page 233 and 234: List of AbbreviationsCOREFBIHUACLBJ
Page 235 and 236: Letter, Roger Light to the Presiden
Page 237 and 238: Telegram, Marjorie Satthoff to the
Page 239 and 240: Brown, Joe David, ed. The Hippies.
Page 241 and 242: Editorial. Chicago Tribune. 29 Aug.
Page 243 and 244: Higgins, Dick. “The Origin of the
Page 245 and 246: Karastamatis, John. “Don’t Star
Page 247 and 248: McMillian, John. “Garbage Guerril
Page 249: Rosenberg, Bernard. “Chicago: Blo
Page 253: VITASusanne Elizabeth Shawyer was b
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