I. Aesthetic and Narrative Features of the Live Anthology Drama

A. Because anthology dramas were shot in New York City, they were able to draw on a vast amount of theatrical talent. As a result, many of the anthology dramas were the most artistically creative shows on television.

CLIP #1: Westinghouse Studio One ("Coriolanus", CBS, 6/11/51): Coriolanus confronts the Roman populace

The brilliance of the drama is that it modernizes a relevant yet relatively unknown Shakespeare play, updating it from Ancient Rome to Fascist Italy. However, it also refers to the demagoguery of McCarthy-era America.

B. As Marc and Thompson indicate, the backbone of the anthology drama was its writing. Anthology dramas became showcases for the personal work of top-quality theatrical writing talent.

1. Paddy Chayefsky

Chayefsky’s dramas use a social realist style to tell the stories of ethnic working-class characters.

CLIP #2: Philco TV Playhouse ("Marty ", NBC, 5/24/53): Theresa convinces Marty into going to the dancehall

--> Many of these anthology dramas were so successful that they were made into Hollywood films, often winning prestigious awards like the Oscar.

CLIP #3: Marty (Delbert Mann, 1955): opening

Note how the Hollywood film brightens up the story, both stylistically and narratively.

2. Rod Serling

Serling’s dramas investigate the way modern American social life assaults our humanity, but stop short of political critique

CLIP #4: Kraft Television Theater ("Patterns", NBC, 1/12/55): Fred doesn’t quit even though Mr. Ramsey has killed Andy Sloane

C. The anthology dramas often brought to television types of shows rarely seen otherwise

1. High Culture

Example: the plays of William Shakespeare

CLIP #5: Westinghouse Studio One ("The Taming of the Shrew", CBS, 6/5/50): Introductions of Petruchio and Katherina

--> This is just as complex as 1980s post-modern television’s grappling with high culture

CLIP #6: Moonlighting ("Atomic Shakespeare", ABC, 1986): opening of the show

2. Modernism

Example: the plays of Luigi Pirandello

CLIP #7: Westinghouse Studio One ("Henry IV", CBS, 12/5/59): Henry confesses that he’s been faking his insanity

Note the way in which the commercial for the Westinghouse television contradicts the modernist project of the play (the questioning of clear sight, reality, and illusion)

II. Ideological Features of the Live Anthology Drama

A. The overriding importance of the nuclear family to 1950s America

CLIP #8: Danger ("The System", CBS, 1952): end

Also: the end of Marty

B. 1950s Consensus Politics

CLIP #9: 12 Angry Men (film version, Sidney Lumet, 1957): The last juror changes his vote

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This page was last updated on January 8, 2001

Questions or comments?  Please phone me at (406) 994-6403 or send e-mail to:  metz@montana.edu

Walter Metz, Department of Media and Theatre Arts, Montana State University--Bozeman