Abstract
Hallie Flanagan wanted to challenge and transform herself as a theatre artist. She was stalled and had exhausted the resources available to her in the US. “I can’t tell you how much I feel that I need this European training if I am to do anything distinctive…. I want to rely no longer on the observation of others. I want first hand knowledge of the theatres of the world…. In short, the year of foreign study is indispensable if I am to do work which is of power and value.”1 On 3 December 1925 the John Simon Guggenheim Memorial Foundation received an application from Hallie Flanagan for its second year of fellows. In her application she shared her fervent belief that her artistic aspirations could not be fulfilled by staying within the geographic boundaries of her home country.
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Notes
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© 2015 Charlotte M. Canning
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Canning, C.M. (2015). Introduction. In: On the Performance Front. Studies in International Performance. Palgrave Macmillan, London. https://doi.org/10.1057/9781137543301_1
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