Word: dramatists
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Dates: during 1970-1979
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Fuse these qualities at their apex and you get an O'Casey. Even a lesser Irish dramatist like Hugh Leonard can be uncommonly rewarding. Da, now at Manhattan's Hudson. Guild Theater, means dad. The play is a fencing match with the ghosts of the past. The blood drawn is palpably human, the wit, parried and thrust, strikes sparks of continuous and sometimes quite unexpected humor. Says the father in Da of his late wife: "She died an Irishwoman's death-drinking tea." The laughs crop up like that, not as explosions but implosions, deeply rooted...
SUPPOSE YOU WERE a once-successful but now faded dramatist and you wanted to write a classic Broadway thriller but didn't have any good ideas. Why not write a play about a once-successful but now faded dramatist who wants to write a classic Broadway thriller but doesn't have any good ideas? That's precisely what the protagonist in Ira Levin's new thriller, Deathtrap, decides to do and, not so coincidentally, it is what Ira Levin, a successful novelist (Rosemary's Baby, The Boys from Brazil) who hasn't had a Broadway hit in over a decade...
...ANCIENT GREEK DRAMATIST, the spoken word was a new-found tool with which images could be sculpted, ideas persuasively conveyed, and emotions rendered with vivid eloquence; to the visually-oriented modern film-maker, it is a pain in the ass. In movie versions of great poetic dramas, nervous directors often move their cameras too much, nor enough, or at the wrong times, and the result is that visual and verbal elements constantly elbow each other aside, yielding neither great drama nor great film, but a tentative mess with little emotional force of its own. It is highly significant that perhaps...
...introspective Sadat is at the same time a dramatist. He likes pomp. After his 1975 decision to reopen the Suez Canal, Sadat dressed up in a white admiral's uniform and rode down the canal for four hours on the deck of a destroyer. As a young man he wanted to be an actor, and for a brief period, he now relates somewhat uncomfortably, he did perform on the Cairo stage. He answered an ad in the newspaper for a theater job and sent in his photograph, declaring that he did both tragedy and comedy but preferred comedy. Even...
...tells himself he is not one of those sympathetic lost characters out of Chekhov but the insane amputee in a story by Gogol who places an ad for the return of his lost nose. What Roth succeeds in portraying, though, with all the delicacy and poignancy of the Russian dramatist, is that Kepesh is in fact a figure from a Chekhov novel. Not a warped, disfigured monster but a man whose constant pursuit of love reveals the tragic-comic dimensions of our own lives...