Word: playwrights
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Dates: during 1960-1969
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...Film Theater began to spin out a series of his films. Occasions like 70th birthdays tend to bring out hyperbole, and uncritical reassessments blossomed in the press. Some critics went so far as to rank him with Sheridan and Wilde, or to call him England's greatest living playwright. Such judgments overlooked the extent to which Coward's work is sheerly theatrical, meaning not only shrewd in stagecraft but also remote from lives and issues outside the theater. The stage is all his world, and players are the only people...
...program notes by Ted van Griethuysen, who directed the play and is also the company's artistic director: "Hedda Gabler is a good person." The premise itself is highly debatable. Is Falstaff a good person? Are Ivanov and Amanda Wingfield good persons? As soon as a great playwright has performed an in-depth analysis and portrayal of a character, that character transcends the confining categories of good and evil. Such a character then becomes rich, opaque, fascinating, and strangely elusive of definition-in precisely the way that provocative and interesting people are in real life. Even if the premise...
While Coward's languid worldlings endlessly assert that they are bored, irritated and weary of it all, the playwright gives them so much verve and vitality that they seem instead to have a fierce crush on life. The evening is permeated with the spirit of the '20s, gin-high, half-naughty, half-emancipated, free-souled and free-bodied-not the least piquant aspect of which is the decision of the two leading ladies to play their roles throughout sans bras...
...things, to give the theatrical experience back to the people who are actually in the theatre when the performance takes place-that is, the actors and the audience, period. In such a "Pour Theatre." not only will the designers and stagehands be eliminated, but so will the playwright. Grotowski sees all theatrical technicians as belonging to the "Rich Theatre" or to the movies...
...revolutionary approach to acting which developed around Chekhov's plays in turn-of-the-century Russia. Method actors have trained us to think of Chekhov plays as having quiet, detailed surfaces under which internalized explosions almost imperceptively crupt. In Moss's Three Sisters, this now-standard approach to the playwright is turned inside out (and must be, since Grotowski's views on acting are in practice, if not purpose, almost diametrically opposed to Stanislavski...