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...reading of Huston's remarks pointed up Strasberg's concern over "the lack of a trained audience." And it was particularly timely in view of Earle Hyman's current recreation of the same role at the Shakespeare Festival in Stratford, Connecticut (which I discussed at some length in these pages two weeks...

Author: By Caldwell Titcomb, | Title: Strasberg Analyzes Acting and Audiences | 7/18/1957 | See Source »

...Hyman did the role of Othello off-Broadway three or four years ago. Though I was not able to see it, I understand it was a wild and explosive interpretation. Since then Hyman has thought a great deal more about the part, and now performs it in a controlled crescendo. He has felt driven toward Huston's kind of "subdued conception." The difference is that Hyman accomplished in three years what took Huston three decades...

Author: By Caldwell Titcomb, | Title: Strasberg Analyzes Acting and Audiences | 7/18/1957 | See Source »

...couple of the New York critics this summer took exception to Hyman's new approach; they wanted him to writhe and blaze furiously. One of them, now the most influential critic, made the same criticism he had voiced about Huston's conception 20 years...

Author: By Caldwell Titcomb, | Title: Strasberg Analyzes Acting and Audiences | 7/18/1957 | See Source »

...mean to question the critics' verdict on Huston's performance. It was probably no more than good, especially since Huston had to play opposite a poor Iago; whereas Hyman's is a great performance. What I am questioning is their evaluation of Huston's conception (and there is a big difference between conception and performance). Huston's conception was right then; all the critics and most of the audience were wrong. Hyman's conception is right now; a few of the critics and audience are wrong...

Author: By Caldwell Titcomb, | Title: Strasberg Analyzes Acting and Audiences | 7/18/1957 | See Source »

...Hyman has played this role with the Shakespearewrights in New York and at the Antioch Festival in Ohio; it is obvious from his present performance that he has lived with the role a long time and knows exactly what he is doing. Most Othellos make the mistake of getting enraged too soon; consequently as the play progresses they try to bellow and shriek ever more loudly until the limit of intelligibility has been left far behind. But Hyman is careful to adjust to the big time scale of this process, so that the proper prolonged Beethovenian crescendo results. For, contrary...

Author: By Caldwell Titcomb, | Title: Shakespeare's 'Othello' | 7/1/1957 | See Source »

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