By Zoltán Szilassy
From the point of view of a Hungarian pupil who has spent a lot time within the usa, Zolt?n Szilassy seeks throughout the dramaturgical kaleidoscope of the yank l960s to find what's everlasting in many of the different background of the interval and to discover the whirlpool of thoughts, a lot of that are nondramatic in starting place or character. The e-book is split into elements, “The Rebellious Drama” and “The Intermedia.” the 3 chapters partly 1 are “Edward Albee: First between Equals,” “Varieties of the Albee Generation,” and “The Dramaturgical Kaleidoscope of the Sixties.” half 2 includes “Happenings and New functionality Theories,” “The local substitute Theater,” and “Conclusion, Outlook, and Reminiscences.” Surveying the yankee dramatic scene, Szilassy concludes: the eu observer should still “hope that american citizens will preserve or relatively boost the type of theatrical equilibrium that duly made the sixties unforgettable either at domestic and abroad.”
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Extra info for American theater of the 1960s
I share Albee's opinion that the critics made too much fuss about the interpretation of the play; it can either be taken as a modern "mystery play," or, as Albee puts it, a "devant-garde" experiment on what theater was like forty years ago. This was a time when Albee heartily agreed with one of his idols, Eugene O'Neill, in maintaining that while most contemporary plays deal with man's relationship to other men, he was concerned only with the relationship between man and God. Playwrights Page 20 must present the "sickness" of today's existence and then offer new cures.
The English critic is still misled by the empassibilite power of Freud, nee Strasberg, or vice versa, on Broadway. The problems may be the same as those in The American Dream, but in this play they have to do with the intelligentsia who are not in the mainstream of the river. 10 Following W. G. Knight's interpretation of Hamlet, one ought to reverse the cast. The Ambassador of Death is Nick and the Hamletian figure is George. Martha serves as Gertrude, and Honey as Ophelia. Nick controls Honey's flirtations much as Laertes controls Ophelia.
Kent Bales, my academic adviser. I have enjoyed an intellectually and emotionally stimulating friendship with Paul Walsh, who was a graduate student and teaching assistant at the University of Minnesota during my stay there. If we meet again for a longer period of time, we must write up our notes for our coauthored book, The Room-Sized Metaphysics of Twentieth-Century Drama. The ensemble whose continuous efforts, from the sixties to the time I met them, have deeply impressed me, was the Provisional Theater of Los Angeles.