Using his extraordinary grasp of the theatre, Robert Brustein, Dean of the Yale Drama School and prize-winning critic, examines campus turmoil, radicalism versus liberalism, the fate of the free university, and the new revolutionary life style. Brustein sees American society as profoundly decadent, and those radicals from whom creative and rational alternatives should come as being increasingly dominated by sentimentality and false emotionalism. His observations are often controversial, always timely and interesting.

Michael Meyer's translations of Strindberg and Ibsen have often been described as definitive, as have his biographies of both writers. His Strindberg translations made him the first Englishman to receive the Gold Medal of the Swedish Academy, and his life of Ibsen won the Whitbread Biography prize. He has now turned his attention to his own life and his friendships with some of this century's most famous literary and theatrical names.

A major figure in the world of theater as critic, playwright, scholar, teacher, director, actor, and producer, Robert Brustein offers a unique perspective on the American stage and its artists. In this wise, witty, and wide-ranging collection of recent writings, Brustein examines crucial issues relating to theater in the post-9/11 years, analyzing specific plays, emerging and established performers, and theatrical production throughout the world. Brustein relates our theater to our society in a manner that reminds us why the performing arts matter. Millennial Stages records Brustein's thinking on the important issues "roiling the national soul" at the start of the twenty-first century. His opening section explores the connections between theater and society, theater and politics, and theater and religion, and it is followed by reviews of such landmark productions as The Producers and Spamalot , Long Day's Journey into Night and King Lear . In his final section, Brustein reflects on people and places of importance in the world of theater today, including Marlon Brando and Arthur Miller and Australia and South Africa.

The Group Theatre was perhaps the most significant experiment in the history of American theater. Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theater, the "Group" remains a permanent influence on American drama despite its brief ten-year life. It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated--indeed demanded--a departure from the Broadway "show-biz" tradition. In this now classic account, Harold Clurman, founder of the Group Theatre and a dynamic force as producer-director-critic for fifty years, here re-creates history he helped make with Lee Strasberg, Elia Kazan, Irwin Shaw, Clifford Odets, Cheryl Crawford, Morris Carnovsky, and William Saroyan. Stella Adler contributed a new introduction to this edition which remembers Clurman, the thirties, and the heady atmosphere of a tumultuous decade.

Two of the Best in the Neighbourhood is a backstage account of the creation and continued life of the smash hit play 2 Pianos 4 Hands. (This volume also includes the full script of the play.) With contributions from the principal players of this story, including many from co-creator Ted Dykstra, Greenblatt takes us from the genesis of the idea to the blockbuster cross-Canada tour and to productions in the US, England, and Japan. A highly personal and subjective tale filled with anecdotes that span almost three decades, Two of the Best in the Neighbourhood is a glimpse into a fascinating chapter of Canadian theatre history. 2 Pianos 4 Hands tells the story of Ted and Richard, who grow up as "piano nerds," dealing with pushy parents, eccentric teachers, hours of repetitive practice, stage fright, the agony of competitions and exams, and the dream of greatness. As they mature, they become more aware of the gap between the merely very good and the great, and they come to the humbling realization that although concert stardom may be out of reach, they just might be two of the best piano players in the neighbourhood--and that in itself is worth celebrating.

Essays, reviews, and profiles in which Mr. Brustein uses the prism of the American theatre to explore the motivating impulses behind rampant political correctness. Witty, articulate, fiery...and well worth reading again and again. -Jack Helbig, Booklist

The Great White Way and has paved the way for some of the most legendary performers in history. But Broadway is more than a street, it's a community. In this Q Guide, a true Broadway expert takes theatre fans on the ultimate insider's tour. With its queer perspective, The Q Guides become the instant arbiters of taste and trends for the hip and hot, gay and straight.

"Alexander Nemerov is one of the greatest readers of American visual culture. This book has the revelatory power that only wide-ranging curiosity and true independence of mind can achieve." Richard H. Brodhead President of Duke University and author of Cultures of Letters: Scenes of Reading and Writing in Nineteenth-Century America ; "A benchmark in the writing of art history and in studies of the Civil War, Acting in the Night occupies a category unto itself. It uniquely immerses the reader in a holistic experience of the Civil War and shows Nemerov as a cosummate stylist in the field of American art history."Kathleen Pyne author of Modernism and the Feminine Voice ; "This is a work of criticism that borders on poetry, a brilliant and extremely original book that invites us to rethink to the artistic world we study."Julia Reinhard Lupton author of Thinking with Shakespeare: Essays on Politics and Life ; What can the performance of a single play on one night tell us about the world this event inhabited so briefly? Alexander Nemerov takes a performance of Macbeth in Washington, D.C., on October 17, 1863--with Abraham Lincoln in attendance--to explore this question and illuminate American art, politics, technology, and life as it was being lived. Nemerov's inspiration is Wallace Stevens and his poem "Anecdote of the Jar,"in which a single object organizes the wilderness around it. For Nemerov, that evening's performance of Macbeth reached across the tragedy of civil war to acknowledge the horrors and emptiness of a world it tried and ultimately failed to change. --Book Jacket

'Theater legend Malina has written one of the most interesting studies of the avant-garde theatrical movement published in the last several years.' âe" CHOICE Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents Malinaâe(tm)s intensive and idiosyncratic training at Piscatorâe(tm)s school. Part diary, part theatrical treatise, this unique and inspiring volume combines: complete transcriptions of Malinaâe(tm)s diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscatorâe(tm)s syllabi and teaching materials; notes on Malinaâe(tm)s teachers, fellow students âe" including Marlon Brando and Tennessee Williams âe" and New School productions; studies of Piscatorâe(tm)s process and influence, along with a new essay on the relationship between his teaching, Malinaâe(tm)s work with the Living Theatre and "The Ongoing Epic"; an introduction by performance pioneer, Richard Schechner. The Piscator Notebook is a compelling record of the genealogy of political theatre practice in the early 20th Century, from Europe to the US. But it is also a stunningly personal reflection on the pleasures and challenges of learning about theatre, charged with essential insights for the student and teacher, actor and director. 'Piscator is the greatest theatre man of our time.' âe" Bertolt Brecht

The Arab theatre and cinema are among the most neglected subjects in the studies of Oriental literature and research into the history of theatre. This book, written by the acclaimed scholar Jacob M. Landau and first published in 1958, is a survey of the development of the Arab theatre and cinema as cultural and social phenomena and goes a long way in shedding some light on these neglected subjects.

A book on the cultural and revolutionary florescence of the American Theatre, circa 1963-1973

As drama critic for The New Yorker, John Lahr has always striven to tell the story behind the story; to use biography and history as well as his skill as a critic to illuminate the theater and all of its players. "Light Fantastic is a wide-ranging, comprehensive collection of his best critical pieces exploring the heart and soul of the theater. From his penetrating examination of Oscar Wilde's path to self-destruction, to his tragic portrait of Joe Orton's corrosive relationship with Kenneth Halliwell; from his chronicle of the rise and fall and reprisal of the American musical to his insightful commentary on such playwrights as Tennessee Williams, Tony Kushner, Lillian Hellman, Arthur Miller and Tom Stoppard, John Lahr brilliantly illuminates the dazzling world of contemporary theater.

Learn About the Magic of Light from a Master Step into the captivating world of Jean Rosenthal, a trailblazing figure in the realm of lighting design for modern theater. The Magic of Light, a professional memoir crafted with the assistance of friend and novelist Lael Wertenbaker, unveils the artistry behind Rosenthal's technical mastery. Renowned for transforming stage illumination from a mere necessity to a mesmerizing art form, Rosenthal shares her insights, experiences, and the evolution of her craft. Part one of the memoir delves into Rosenthal's profound thoughts on light, exploring its role in theatrical history, dissecting its impact on plays, musicals, operas, and dance. Part two, "Tools of the Trade," serves as a comprehensive guide, detailing the mechanics of lighting instruments, with diagrams, charts, and photographs illustrating Rosenthal's creative process. Included are light plots, cue sheets, and scene designer's elevations for the famous Broadway productions of Hello, Dolly and Plaza Suite. In a heartfelt preface, Wertenbaker offers a glimpse into the life of Rosenthal, a woman of immense talent, professionalism, and profound humanity. From her early collaborations with Martha Graham to her work with Broadway stage greats, Rosenthal's journey unfolds with anecdotes, humor, and the unwavering dedication that endeared her to colleagues and theater crews alike. The Magic of Light is not only a technical guide; it's a celebration of Rosenthal's legacy and her impact on the theatrical world. With contributions from luminaries like Martha Graham, John Houseman, Oliver Smith, Mary Martin, and Garson Kanin, this memoir is a tribute to a pioneering artist whose work continues to shape the essence of stage illumination. This book is also available from Echo Point Books as a hardcover (ISBN 1648374298).

Book by Berkoff, Steven

First published in 1985, this book examines how workers theatre movements intended their performances to be activist -- perceiving art as a weapon of struggle and enlightenment -- and an emancipatory act. An introductory study relates left-wing theatre groupings to the cultural narratives of contemporary British socialism. The progress of the Workers' Theatre Movement (1928-1935) is traced from simple realism to the most brilliant phase of its Russian and German development alongside which the parallel movements in the United States are also examined. A number of crucial texts are reprints as well as stage notes and glimpses of the dramaturgical controversies which accompanied them.

''A fascinating account of the trials and tribulations behind what turned into a triumphant South African production of Shakespeare's bloodiest tragedy, Titus Andronicus' (Independent). Shakespeare in Tarantino mode is how actor Antony Sher and director Gregory Doran describe Titus Andronicus, one of the most violent plays ever written. They decided to mount a production at the celebrated Market Theatre in Johannesburg with a top South African multi-racial cast. This is an account of their extraordinary journey- from the historic first visit of the Royal National Theatre Studio to South Africa in 1994, to the rehearsals and controversial opening of Titus at the Market, and the acclaim that greeted its subsequent performances in London, Leeds and Spain. This is not only a fascinating insight into how a director and actor approach a classic play, it is also a portrait of theatre in South Africa, emerging from the dark ages of apartheid, and a moving and often funny account of Antony Sher's professional debut in his homeland.''