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...German, Grass is a nonconformist in more important ways. His country reveres specialization. Grass has exuberantly sprawled out as minor poet, polemical dramatist, artist, sculptor and jazz musician. He has persistently made fun of the Establishment and the past. In the matter of language, he is a total revolutionary. Too often in Germany, culture has suggested lofty abstractions and an aristocratic style. Grass has always liked to stand the German language on its head and shake it. The result is Rabelaisian horselaughs, horrifying images and earthy sights, smells and sounds that make his visions of yesterday as immediate...

Author: /time Magazine | Title: Books: The Dentist's Chair as an Allegory in Life | 4/13/1970 | See Source »

Lillian Hellman, another guest dramatist, first established herself as a major force in American theatre with The Children's Hour -a psychological drama dealing with lesbianism-that shocked audiences when it first opened in 1934. Later, she wrote The Little Foxes, and Toys in the Attic (1960), and was last year the recipient of the National Book Award...

Author: NO WRITER ATTRIBUTED | Title: Drama | 4/10/1970 | See Source »

Stopping over in Bangkok, Dramatist Arthur Miller speculated that if Willy Loman, the frustrated hero of Miller's tragic Death of a Salesman, were around today, he would be a member of the Silent Majority...

Author: /time Magazine | Title: People: Apr. 6, 1970 | 4/6/1970 | See Source »

...heavyweight champion? Scan The Great White Hope, an original Howard Sackler dirty history postcard. The theatrical alleys are getting a trifle crowded with these peddlers, but Ireland's Conor Cruise O'Brien obviously thinks there is room for one more. He has a marvelous name for a dramatist, and it is a far, far better line than any in his play, Murderous Angels...

Author: /time Magazine | Title: Theater: Dirty History Postcard | 2/16/1970 | See Source »

...play, O'Brien announces: "My Hammarskjold and my Lumumba are not to be thought of as the 'real' characters of that name, but as personages shaped by the imitation of a real action associated with their names." What O'Brien is proclaiming here is the dramatist's right to distort history and historical characters in any way he sees fit. Director Gordon Davidson argued in conversation on opening night that Shakespeare did precisely the same thing. The significant difference, perhaps, is that Shakespeare wrote drama, whereas O'Brien simply pontificates and polemicizes...

Author: /time Magazine | Title: Theater: Dirty History Postcard | 2/16/1970 | See Source »

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