1. Sophie Treadwell (1885 – 1970)

3. Journalist, interviews Mexican revolutionary Pancho Villa

5. Sophie Treadwell (1885 – 1970) Journalist, interviews Mexican revolutionary Pancho Villa WWI correspondent in France

6. Sophie Treadwell (1885 – 1970) Journalist, interviews Mexican revolutionary Pancho Villa WWI correspondent in France College theater (Berkeley)

7. Sophie Treadwell (1885 – 1970) Journalist, interviews Mexican revolutionary Pancho Villa WWI correspondent in France College theater (Berkeley) Continues to work in the theater

8. Machinal (1928) Premiers at the Plymouth Theater, New York, on September 7, 1928

9. Machinal (1928) Premiers at the Plymouth Theater, New York, on September 7, 1928 Significant run of 91 performances

10. Machinal (1928) Premiers at the Plymouth Theater, New York, on September 7, 1928 Significant run of 91 performances Directed by Arthur Hopkins

11. Machinal (1928) Premiers at the Plymouth Theater, New York, on September 7, 1928 Significant run of 91 performances Directed by Arthur Hopkins Included in Best Plays of 1928 – 1929

12. Machinal (1928) Premiers at the Plymouth Theater, New York, on September 7, 1928 Significant run of 91 performances Directed by Arthur Hopkins Included in Best Plays of 1928 – 1929 Critics complain about “unsentimental” approach

13. The Snyer Case, 1927-1928

14. Ruth Snyer: Long Island housewife accused of conspiring with her lover, Judd Gray, in the murder of her husband

15. The Snyer Case, 1927-1928 Ruth Snyer: Long Island housewife accused of conspiring with her lover, Judd Gray, in the murder of her husband Media frenzy as evidence is found, Judd’s alibi broken

16. The Snyer Case, 1927-1928 Ruth Snyer: Long Island housewife accused of conspiring with her lover, Judd Gray, in the murder of her husband Media frenzy as evidence is found, Judd’s alibi broken Snyder executed in January 1928

17. The Snyer Case, 1927-1928 Ruth Snyer: Long Island housewife accused of conspiring with her lover, Judd Gray, in the murder of her husband Media frenzy as evidence is found, Judd’s alibi broken Snyder executed in January 1928 Secret film footage

18. The Snyer Case, 1927-1928 Ruth Snyer: Long Island housewife accused of conspiring with her lover, Judd Gray, in the murder of her husband Media frenzy as evidence is found, Judd’s alibi broken Snyder executed in January 1928 Secret film footage New York Daily News publishes execution photo

19. Ruth Snyer

20. Ruth Snyder execution

21. Machinal (1928) EPISODE ONE TO BUSINESS SCENE: An office. A Switchboard Filing Cabinet Adding Machine Typewriter and Table Manifold Machine SOUNDS: Office Machines. Typewriters Adding Machine Manifold Telephone Bells Buzzers

22. Machinal (1928) CHARACTERS AND THEIR MACHINES: A YOUNG WOMAN (Typewriter) A STENOGRAPHER (Typewriter) A FILING CLERK (Filing cabinet and manifold) AN ADDING CLERK (Adding Machine) TELEPHONE OPERATOR (Switchboard) (BEFORE THE CURTAIN--Sounds of Machines going. They continue throughout the scene, and accompany the Young Woman's thoughts after the scene is blacked out)

23. Machinal (1928) (AT THE RISE OF THE CURTAIN: All the Machines are disclosed, and all the characters with the exception of THE YOUNG WOMAN) Of these characters, THE YOUNG WOMAN, going any day to any business. Ordinary. The confusion of her own inner thoughts, emotions, desires, dreams cuts her off from any actual adjustment to the routine of work. She gets through this routine with a very small surface of her consciousness. She is not homely and she is not pretty. She is preoccupied with herself--with her person. She has well kept hands, and a trick of constantly arranging her hair over her ears.

24. Machinal (1928) (AT THE RISE OF THE CURTAIN: All the Machines are disclosed, and all the characters with the exception of THE YOUNG WOMAN) Of these characters, THE YOUNG WOMAN, going any day to any business. Ordinary. The confusion of her own inner thoughts, emotions, desires, dreams cuts her off from any actual adjustment to the routine of work. She gets through this routine with a very small surface of her consciousness. She is not homely and she is not pretty. She is preoccupied with herself--with her person. She has well kept hands, and a trick of constantly arranging her hair over her ears.

25. Scene 9 EPISODE NINE A MACHINE

26. Scene 9 (The TWO GUARDS take the YOUNG WOMAN by the arms, and start through the door in the bars and down the passage, across stage and off. The PRIEST follows; the MATRON follows the PRIEST; the PRIEST is praying. The scene BLACKS OUT. The voice of the PRIEST gets dimmer and dimmer.

27. 1ST REPORTER Suppose the machine shouldn't work! 2ND REPORTER It'll work!--It always works! THIRD REPORTER Hush! PRIEST Saints of God make intercession for us--Be merciful--Spare us, oh Lord--be merciful– 1ST REPORTER Her lips are moving--what is she saying? 2ND REPORTER Nothing. THIRD REPORTER Hush! PRIEST Oh Lord deliver us from all evil--from all sin--from Thy wrath--from the snares of the devil--from anger and hatred and every evil will--from– 1ST REPORTER Did you see that? She fixed her hair under the cap--pulled her hair out under the cap. THIRD REPORTER Hush! PRIEST --Beseech Thee--hear us--that Thou would'st spare us--that Thou would'st pardon us--Holy Mary--pray for us– 2ND REPORTER There– YOUNG WOMAN (calling out). Somebody! Somebod-- (Her voice is cut off.) PRIEST Christ have mercy--Lord have mercy--Christ have mercy-- CURTAIN

28. 1ST REPORTER Suppose the machine shouldn't work! 2ND REPORTER It'll work!--It always works! THIRD REPORTER Hush! PRIEST Saints of God make intercession for us--Be merciful--Spare us, oh Lord--be merciful– 1ST REPORTER Her lips are moving--what is she saying? 2ND REPORTER Nothing. THIRD REPORTER Hush! PRIEST Oh Lord deliver us from all evil--from all sin--from Thy wrath--from the snares of the devil--from anger and hatred and every evil will--from– 1ST REPORTER Did you see that? She fixed her hair under the cap--pulled her hair out under the cap. THIRD REPORTER Hush! PRIEST --Beseech Thee--hear us--that Thou would'st spare us--that Thou would'st pardon us--Holy Mary--pray for us– 2ND REPORTER There– YOUNG WOMAN (calling out). Somebody! Somebod-- (Her voice is cut off.) PRIEST Christ have mercy--Lord have mercy--Christ have mercy-- CURTAIN

29. Ruth Snyder execution

30. Original production, episode 2

31. Original production, scene 5

32. Original production, episode 6

33. Original production, episode 7

34. Original production, episode 8

35. Original production, episode 9

41. (A shadow falls across the passage in the front of the stage--and there is a shirring sound.) YOUNG WOMAN What is that? Father! Jailer! What is that? JAILER An aeroplane. MATRON Aeroplane. PRIEST God in His Heaven. YOUNG WOMAN Look, Father! A man flying! He has wings! But he is not an angel! JAILER Hear his engine. MATRON Hear the engine.

42. Scene 2: home machine At home Buzzer Radio

43. Scene 2: home machine At home Buzzer Radio -Eating -Marriage

44. YOUNG WOMAN I got to get married, Ma. MOTHER What do you mean? YOUNG WOMAN I gotta. MOTHER You haven't got in trouble, have you? YOUNG WOMAN Don't talk like that! MOTHER Well, you say you got to get married--what do you mean? YOUNG WOMAN Nothing. MOTHER Answer me! YOUNG WOMAN All women get married, don't they? MOTHER Nonsense! YOUNG WOMAN You got married, didn't you? MOTHER Yes, I did! (Offstage voices.)

45. Scene 3: Honeymoon machine Honeymoon

46. Scene 3: Honeymoon machine Honeymoon Swiss watch

47. Scene 3: Honeymoon machine Honeymoon Swiss watch Repetition of jokes

48. Scene 3: Honeymoon machine Honeymoon Swiss watch Repetition of jokes Sexual acts

49. Scene 4: maternal machine Riveting machine outside

50. Scene 4: maternal machine Riveting machine outside Biological reproduction

51. Scene 4: maternal machine Riveting machine outside Biological reproduction nursing

52. Fiona Shaw

53. Scene 5: prohibition machine SCENE: Bar--Bottles--Tables--Chairs--Electric piano. SOUND: Electric piano.

54. Scene 5: prohibition machine SCENE: Bar--Bottles--Tables--Chairs--Electric piano. SOUND: Electric piano. Telephone girl

55. Scene 5: prohibition machine SCENE: Bar--Bottles--Tables--Chairs--Electric piano. SOUND: Electric piano. Telephone girl

56. Scene 6: intimacy machine

57. Scene 7: domestic machine Newswires

58. Scene 7: domestic machine Newswires Business language infiltrates other spheres

59. Episode 8: The law machine Telegraphs

60. Episode 8: The law machine Telegraphs Court routine

62. Manifesto assignment

63. Manifesto form: -Making the hidden manifest, meeting rumors, exorcizing specters

64. Manifesto form: -Making the hidden manifest, meeting rumors, exorcizing specters -Grand history culminating in the present

65. Manifesto form: -Making the hidden manifest, meeting rumors, exorcizing specters -Grand history culminating in the present -Dramatic structure, including crises and turning point, rather than dialogue or credo

66. Manifesto form: -Making the hidden manifest, meeting rumors, exorcizing specters -Grand history culminating in the present -Dramatic structure, including crises and turning point, rather than dialogue or credo -Dramatic story telling, including the use of the sublime and a sudden reversal

67. Manifesto form: -Making the hidden manifest, meeting rumors, exorcizing specters -Grand history culminating in the present -Dramatic structure, including crises and turning point, rather than dialogue or credo -Dramatic story telling, including the use of the sublime and a sudden reversal -Intervention, not just description: manifesto contributes to the reversal it describes

68. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism.

69. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism. Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content?

70. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism. Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content? Would you emphasize history or ideas?

71. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism. Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content? Would you emphasize history or ideas? What role would the crises of capitalism play in your account?

72. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism. Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content? Would you emphasize history or ideas? What role would the crises of capitalism play in your account? Whom would the manifesto be against? Marx?

73. 2 nd assignment Either critical paper or creative assignment: write a Manifesto of Capitalism. Think about the form: would it be adequate to copy formal features from the Communist Manifesto, or should you change the form as well as the content? Would you emphasize history or ideas? What role would the crises of capitalism play in your account? Whom would the manifesto be against? Marx? What would it be making manifest?

74. Manifesto assignment cont. From what position would you write your manifesto? Would the recent financial crisis and/ Occupy Wall Street play a role?