New American Plays 1.

Fülszöveg

VOLUME ONE Edited and with an Introduction by Róbert W. Corrigan "We like these plays: they are deserving of attention. They are good plays; they should be read; and probably most important, they should be produced. (Indeed, somé of them have been.) This book, while it may not herald the birth of a new movement in the theatre, does reveal great variety, marked contrasts, an eclecticism, and a wide rangé of achievement which, for the most part, has not been recognized. Somé of the plays are from a traditional mold, others are experimentál; somé are apprentice pieces, others are the fruit of many years of writing for the theatre; somé clearly reveal Continental infiuences (I can find Brecht, lonesco, Pintér, and Genet), while a play like Sneaky Fitch seems almost parthenog^netic; somé of the writers are college professors and write with erudite clarity, others have had 1 itt le formai education and their work is imbued with a Calibanistic strength. . . The fact that so many plays are... Tovább

Fülszöveg

VOLUME ONE Edited and with an Introduction by Róbert W. Corrigan "We like these plays: they are deserving of attention. They are good plays; they should be read; and probably most important, they should be produced. (Indeed, somé of them have been.) This book, while it may not herald the birth of a new movement in the theatre, does reveal great variety, marked contrasts, an eclecticism, and a wide rangé of achievement which, for the most part, has not been recognized. Somé of the plays are from a traditional mold, others are experimentál; somé are apprentice pieces, others are the fruit of many years of writing for the theatre; somé clearly reveal Continental infiuences (I can find Brecht, lonesco, Pintér, and Genet), while a play like Sneaky Fitch seems almost parthenog^netic; somé of the writers are college professors and write with erudite clarity, others have had 1 itt le formai education and their work is imbued with a Calibanistic strength. . . The fact that so many plays are being written in such a variety of styles by people with widely diverse backgrounds - bums and beatniks, stee! workers and ex-prizefighters, college professors and professional writers, housewives and career girls - gives evidence of the great talent, vitality, and energy that is available to the theatre if only it has the courage to find ways to develop and use it. This is the most important challenge facing the American theatre in 1965 (and every other year, as well)." -From the Introduction Vissza