Word: loeb
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Dates: during 1960-1969
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Upon being asked, by the University, to design the proposed Loeb Drama Center, I was given a program entitled, "What the Building Should Be and Do." The purpose and requirements were so clearly stated and such a challenge that they could not fail to excite any architect. For me, it was probably even more exciting, as for many years, I had been interested in theaters and buildings for similar purposes...
Speaking a year ago at the New York Harvard Club, the director of the Loeb Drama Center spoke hopefully and eloquently of the future of theater at Harvard. He considered it possible and even probable that Harvard, given the means, might become center to which the young and talented would repair to train themselves for the stage as they have in the past to train themselves for the bar or pulpit or the scholar's life or the director's or the politician's. But at the one time that he expressed this hope, Chapman accepted and supported the faculty...
...they have in the past and the young man who feels happier working as his own carpenter can always find the lift and the lumber, but it is irrelevant to say so, for if our faith is grounded on do-it-yourself stagecraft, why did we build the Loeb? And neither, and for the same reason, is it an adequate answer to point out that the Loeb contains an experimental theater which can equal any cellar for bareness and surpass it in adaptability, for why then the big stage and that lovely auditorium...
That being so, the possibility that success will become the criterion in the Loeb to the neglect of art is not as terrifying as it sounds. Plays are not "for" audiences in the sense in which rings are for fingers or America is for the Americans. The relation is not one of possession or even one of pleaser and pleased: to Brecht, for example, whose plays are "for" audiences in the most explicit sense, the last thing de- sired was that the audience should be "pleased" in any fashion Broadway understands. The playwright's task and the actor...
...raise money for the Program, but where the attempt must be made. Money comes more readily from men in New York counting houses than it does from mutterers in Cambridge coffee houses, but even nickels and dimes should prove sufficient to buy padlocks for the doors of the Loeb Drama Center. Slogans too will play their part. Where President Pusey has said "Build Up," the Program's cry must be "Tear Down," and under a banner flying those words wreckers will assault the Leverett Towers...