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One of Paul Green's best plays, The House of Connelly, was the first play performed (on Broadway in 1931) by the renowned Group Theatre of New York. This book reintroduces the play, and the playwright--famous in his day, but largely forgotten now, although his outdoor symphonic drama The Lost Colony continues to be performed every summer in Manteo, North Carolina. The House of Connelly, is a more traditional drama, comparable to the writing of Tennessee Williams, and the editor asserts that the play deals more directly and fully with racial issues of the early 20th-century South than Williams did in his work. A new edition of the play includes both the original tragic ending and the revised ending Green wrote upon the Group Theatre directors' request. The writing, production and publication history of the play is provided, as well as a scene-by-scene critical analysis and a discussion of the 1934 film adaptation, Carolina. The play's theme is change and Green shows with both endings that the South had to change to survive.
"Drawing on his complete access to Green's papers and on interviews with surviving family members, John Herbert Roper covers all the important aspects of Green's life and career. By word and deed, Paul Green spread the faith of liberalism across the New South, which he insistently called the "Real South." Long after literary fashion had left him behind, he wrote daily and remained at the forefront of causes concerning race relations, militarism, women's and workers' rights, and capital punishment."--BOOK JACKET.
One of Paul Green's best plays, The House of Connelly, was the first play performed (on Broadway in 1931) by the renowned Group Theatre of New York. This book reintroduces the play, and the playwright--famous in his day, but largely forgotten now, although his outdoor symphonic drama The Lost Colony continues to be performed every summer in Manteo, North Carolina. The House of Connelly, is a more traditional drama, comparable to the writing of Tennessee Williams, and the editor asserts that the play deals more directly and fully with racial issues of the early 20th-century South than Williams did in his work. A new edition of the play includes both the original tragic ending and the revised ending Green wrote upon the Group Theatre directors' request. The writing, production and publication history of the play is provided, as well as a scene-by-scene critical analysis and a discussion of the 1934 film adaptation, Carolina. The play's theme is change and Green shows with both endings that the South had to change to survive.
Real Life Drama is the classic history of the remarkable group that revitalized American theater in the 1930s by engaging urgent social and moral issues that still resonate today. Born in the turbulent decade of the Depression, the Group Theatre revolutionized American arts. Wendy Smith's dramatic narrative brings the influential troupe and its founders to life once again, capturing their joys and pains, their triumphs and defeats. Filled with fresh insights into the towering personalities of Harold Clurman, Lee Strasberg, Cheryl Crawford, Elia Kazan, Clifford Odets, Stella and Luther Adler, Karl Malden, and Lee J. Cobb, among many others, Real Life Drama chronicles a passionate community of idealists as they opened a new frontier in theater.
This exceptional collection provides new insight into the life of North Carolina writer and activist Paul Green (1894-1981), the first southern playwright to attract international acclaim for his socially conscious dramas. Green, who taught philosophy and drama at the University of North Carolina at Chapel Hill, won the Pulitzer Prize in 1927 for In Abraham's Bosom, an authentic drama of black life. Among his other Broadway productions were Native Son and Johnny Johnson. From the 1930s onward, Green created fifteen outdoor historical productions known as symphonic dramas, thereby inventing a distinctly American theater form. These include The Lost Colony (1937), which is still performed today. Laurence Avery has selected and annotated the 329 letters in this volume from over 9,000 existing pieces. The letters, to such figures as Sherwood Anderson, Langston Hughes, Richard Wright, John Dos Passos, Zora Neale Hurston, and others interested in the arts and human rights in the South, are alive with the intellect, buoyant spirit, and sensitivity to the human condition that made Green such an inspiring force in the emerging New South. Avery's introduction and full bibliography of the playwright's works and first productions give readers a context for understanding Green's life and times.
"If you love to read ... you know that some books affect you so profoundly they forever change the way you think about the world. Some books, on the other hand, disappoint you so much you want to throw them against the wall ... In [this book], librarian Annie Spence has crafted love letters and breakup notes to the iconic and eclectic books she has encountered over the years. From breaking up with The Giving Tree (a dysfunctional relationship book if ever there was one), to her love letter to The Time Traveler's Wife (a novel less about time travel and more about the life of a marriage, with all of its ups and downs), Spence will make you think of old favorites in a new way"--Dust jacket flap.
In a remarkable adventure, Jacques Copeau brought the troupe of the Théâtre du Vieux-Colombier to the Garrick Theatre in New York City in the fall of 1917. During the next two theater seasons, he staged more than forty different plays in repertory in French. He experimented with the use of both the tréteau nu, a bare raised platform, for some of Molière's farces and the loggia or unit set for all his plays. Copeau's experiments with scenography mark this period as a critical moment in the evolution of stage décor both in the United States and in Europe. Moreover, his development of a full repertory - sometimes three new plays in a week - demonstrated to the United States' fledgling art theater movement how important a full repertory is for the actor's continued training. Jacques Copeau's Friends and Disciples brings to light the support Copeau received from a diverse group of personalities without whom his undertaking would not have been possible: Otto H. Kahn, financier and supporter of the arts; Mrs. Phillip Lydig, a grande dame of New York high society; Antonin Raymond, the Czech architect who renovated the Garrick Theatre; Daisy Andrews, Copeau's tireless factotum; Louis Jouvet, stage manager, actor, and scenographer; Charles Dullin, actor, director and teacher; Suzanne Bing, a member of the troupe who embodied Copeau's ideals; and lastly Agnès Thomsen Copeau, Copeau's loyal wife and companion. This study places the achievement of Copeau in the context of the developments of both European and American theater at the beginning of the twentieth century.
This volume assesses the accomplishments of three mid-20th century, North American stage directors: Harold Clurman, Orson Welles, and Margo Jones. Though their theatre-making endeavours were distinct, each produced work that challenged preconceived notions of theatre-making, all while working within the structure of a company. As directors drawn to the potential rewards of collaboration, all also were keenly adept at understanding how the relationship with a company of collaborators is often marked by struggle and crisis. The essays in this volume explore how these accomplished directors not only created bold work, but also drew on the complex energies of the theatre companies with which they worked to reimagine the shape and scope of theatre directing. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each major North American theatre director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
(Applause Books). "He's a marvelous storyteller: gossipy, candid without being cruel, and very funny. This vivid, entertaining book is also one of the most penetrating works to be written about the theater." - Publishers Weekly