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.
The English Channel examines the murky relationship between great writers and their proclivity to "borrow" ideas and material, tracing Shakespeare's relationship with The Earl of Southampton, the Dark Lady of the Sonnets, and Christopher Marlowe during the turbulent months before Marlowe's death.
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.
This book is a reflection on the American theatre of the 1980s through the agency of selected articles and reviews written largely, though not exclusively, in the author's capacity as drama critic for "The new republic.
Presents advice and inspiration for performers aspiring to star on stage and screen, with anecdotes drawn from decades of experience offering strategies for success.
This book is a masterful and engaging exploration of both Shakespeare's works and his age. Concentrating on six recurring prejudices in Shakespeare's plays--such as misogyny, elitism, distrust of effeminacy, and racism--Robert Brustein examines how Shakespeare and his contemporaries treated them. More than simply a thematic study, the book reveals a playwright constantly exploiting and exploring his own personal stances. These prejudices, Brustein finds, are not unchanging; over time they vary in intensity and treatment. Shakespeare is an artist who invariably reflects the predilections of his age and yet almost always manages to transcend them. Brustein considers the whole of Shakespeare's plays, from the early histories to the later romances, though he gives special attention to Hamlet, King Lear, Othello, and The Tempest. Drawing comparisons to plays by Marlowe, Middleton, and Marston, Brustein investigates how Shakespeare's contemporaries were preoccupied with similar themes and how these different artists treated the current prejudices in their own ways. Rather than confining Shakespeare to his age, this book has the wonderful quality of illuminating both what he shared with his time and what is unique about his approach.
Robert Brustein examines crucial issues relating to theatre in the post-9/11 years, analysing specific plays, various performers, and theatrical production throughout the world. This work explores the connections between theatre and society theatre and politics, and theatre and religion.
Reflects on critical moments in the life of the nation, the theater and society in the decade of the seventies. Analyzes the impact of Watergate, commercial television, Hollywood, the economic crunch, and the political system on the lives of citizens and artists in present-day America. Robert Brustein is art director of the American Repertory Theatre and director of the Loeb Drama Center at Harvard.
According to Robert Brustein, the theater should be taken seriously as one of the fine arts, but it should also be considered a means to reflect on our world, times, and culture from a different perspective. However, this presents a great challenge—the masses must come to appreciate the theater as a means of leisure, but also one of learning. If Word Plays tickles your funny bone as well as touches your mind, then Brustein will have achieved his goal. Word Plays, a collection of Brustein’s articles, satires, and skits, is his attempt to both entertain and educate about the current political and cultural environment in America. Openly positioning himself as a left-leaning political observer, Brustein’s material is wide-ranging and witty. His provocative views on contemporary politics and his ease with a broad range of subjects, from Shakespeare to The Sopranos, makes this an enjoyable, engaging, and reflective volume. The book is divided into three sections. The first is a set of short essays, many of which link political themes to the dramatic arts and others that are purely political commentary. The second includes a series of "dramatic commentaries"—short skits— lampooning contemporary politics and modern American life. The final section consists of "elegies and eulogies" honoring recently deceased icons of the American theater.
This book is a masterful and engaging exploration of both Shakespeare's works and his age. Concentrating on six recurring prejudices in Shakespeare's plays--such as misogyny, elitism, distrust of effeminacy, and racism--Robert Brustein examines how Shakespeare and his contemporaries treated them. More than simply a thematic study, the book reveals a playwright constantly exploiting and exploring his own personal stances. These prejudices, Brustein finds, are not unchanging; over time they vary in intensity and treatment. Shakespeare is an artist who invariably reflects the predilections of his age and yet almost always manages to transcend them. Brustein considers the whole of Shakespeare's plays, from the early histories to the later romances, though he gives special attention to Hamlet, King Lear, Othello, and The Tempest. Drawing comparisons to plays by Marlowe, Middleton, and Marston, Brustein investigates how Shakespeare's contemporaries were preoccupied with similar themes and how these different artists treated the current prejudices in their own ways. Rather than confining Shakespeare to his age, this book has the wonderful quality of illuminating both what he shared with his time and what is unique about his approach.
Reflects on critical moments in the life of the nation, the theater and society in the decade of the seventies. Analyzes the impact of Watergate, commercial television, Hollywood, the economic crunch, and the political system on the lives of citizens and artists in present-day America. Robert Brustein is art director of the American Repertory Theatre and director of the Loeb Drama Center at Harvard.
Mortal Terror is set in 1605, the year of the Gunpowder Plot, a terrorist conspiracy to blow up the houses of Parliament. Shakespeare, delicately balancing his allegiances to assure his own survival, is commissioned by King James to write a play to justify his right to the throne. That play is Macbeth. Mortal Terror is the second piece in a trilogy of plays by Robert Brustein about the life of Shakespeare. The trilogy begins with The English Channel and concludes with The Last Will"--Back cover.
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