| This dissertation explores the relationship between US acting, actor training, and the sociology of theatre. Using the cultural criticism of notable Western Marxists, it argues that the profession of US acting has become a commodified enterprise, most especially since the 1970s and 80s. By using the now defunct League of Professional Theatre Training Programs as its object of study, the dissertation examines the decreasing importance of stage actors, and by extension, the not-for-profit theatre in American society, a trend that began in the 1970s and persists today. |
