We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
182 COMMUNISM IN MOTION-PICTURE INDUSTRY Mr. Tavenner. Mr. Geer, I have before me an April 27, 1948, issue of the Daily Worker, in which under the column "Broadway Beat" there is an article relating to you entitled "Actor's Reply to Colum- nist." I will read the first paragraph and then go down into the body about a matter which I want to ask you about. Will Geer sounds off in a letter to the editor of a theater publication. We see that a certain columnist has attempted to slough off unemployment in our theater by attacking what he calls the censorship of the artist in the Soviet Union. He tells a discouraged actor to beware of casting envious glances at the good employment of the Soviet actor because some Soviet composers have just been criticized by the Soviet state. Then in the body of the article appears this statement attributed to you: The clucking that has gone on about control of the Soviet composer has been largely hearsay. He is unaware apparently of the Soviet cultural program. As an American who has worked in the Soviet theater and cinema, I am all for government participation in show business. Over a period of 25 years the Soviet theater has given infinitely more variety than has been evidenced in the London or New York stages. It has given year-round work for the artist, vacations with pay, free day's salaries to young students of the theater. Whenever I write to the young would-be artists of the theater that have given up probably or have been unable to afford study, I am reminded of the young actor I talked to in Moscow before the war. He was to enroll as a student at the Trade Union Theater, a theater of repertory that was largely supported by trade-unionists of a ball bearing factory. I asked him if he was just starting out. "'Oh, no. I have spent one season already in the Realistic Theater and one in the Molle Theater"— and so forth. Were you correctly quoted in that article? Mr. Geer. I stand on the grounds of the fifth amendment. Mr. Tavenner. Did that article correctly reflect your views about government participation in the show business Mr. Geer. Thanks for reading it, but I stand on the grounds of the fifth amendment. Mr. Tavenner (continuing). At the time it was alleged to have been made by you? Mr. Geer. I stand on the same privilege. Mr. Tavenner. That you refuse to answer ? Mr. Wood. The reporter can't get your indication. Mr. Geer. I am sorry. Mr. Tavenner. When were you in Russia ? Mr. Geer. I went on a theatrical tour to see the Moscow Art Festival in 1935. Mr. Tavenner. Was that the first time that you had been to Moscow ? Mr. Geer. It was. Mr. Tavenner. The first time you had been in the Soviet Union? Mr. Geer. It was, sir. Mr. Tavenner. Is it the only time you have been there ? Mr. Geer. Yes, sir. Mr. Tavenner. What was the purpose of your trip? Mr. Geer. To see the theaters. Our theater was in a pretty bad state at this time. It was a repertory theater. Mr. Tavenner. Did you go alone? Mr. Geer. I went alone. Mr. Tavenner. Did you go in a representative capacity of any character \