In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella
For the first topic, I chose to write on the relationships described in the readings. Each story perfectly depicts the complex meaning behind the different relationships. No two relationships are the same; therefore, that is what makes them interesting to decipher. The subsequent relationships described below all had their ups and downs, which made them all very relatable, for me, as the reader. Furthermore, there was a very notable dynamic in all of the relationships in these past five weeks.
Smith, Joel A. Anne Bogart: Viewpoints. Smith and Kraus, 1995. Hagen, Uta. A Challenge for the Actor. New York: Scribner, 1991. Ed. Hethmon, Robert H. Strasberg at the Actors Studio. New York: Theater Communications Group, Inc.,1965. Mamet, David. True and False: Heresy and Common Sense for the Actor. New York: Vintage Books, 1997. Stanislavski, Constantin. My Life in Art. New York: Theater Art Books, 1952. Strasberg, Lee. A Dream of Passion: The Development of the Method.
INTRODUCTION I’m convinced that what happens in my plays could happen anywhere, at any time, in any place, although the events may seem unfamiliar at first glance. (Pinter, Harold Pinter: Plays, 2 ix) Widely acknowledged as one of the greatest post-war generation dramatists, Harold Pinter’s fame rests on not only his popular dramas, poems, sketches, short stories, but also on his political activism which is rooted in his concern for people and their impoverished mental and