Word: playwrighting
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...with $100 in capital and two clients, Robert Keeshan (Captain Kangaroo) and Newscaster Charles Collingwood. Since then, Josephson has built I.C.M. into a $30 million-a-year multinational company, embracing agents, a concert-booking bureau and a TV station. His 2,250 clients include Actor Laurence Olivier, Playwright Tennessee Williams, Musician Isaac Stern and Dancer Mikhail Baryshnikov. Josephson's empire has grown so vast that he now spends most of his time delegating and supervising, although he stitches together immensely complicated deals (current project: a sequel to Gone With the Wind). "His astuteness is with procedure...
Seldom has an anthology of critical essays aroused so much prepublication anxiety as Diana Trilling's We Must March My Darlings. Playwright Lillian Hellman told the New York Times last year she had heard the manuscript contained "a hysterical personal attack on me." Little, Brown, the publisher for both writers, requested the deletion of four passages about Hellman from the Trilling text. When the author refused, the publisher terminated the contract, precipitating a ruckus whose reverberations can still be heard...
Trilling, one of many unwavering opponents of both Communism and McCarthyism, objects to Hellman's 1976 memoir of the McCarthy era, Scoundrel Time, saying that it was widely but mistakenly received as a reliable record of the times and of the playwright's "virtually unique personal heroism in the midst of almost universal cowardice." A number of other critics, including Hilton Kramer, Irving Howe and Nathan Glazer, have also taxed Hellman with a variety of obfuscations and omissions in the historical record as well as in her own political life story...
When Strindberg's four-year-old son asked him whether God could see in the dark, the playwright answered: "No. but Papa...
Storey's method is that of the playwright: character and plot emerge mainly through dialogue, backed up by simple, controlled description. Blatant authorial intrusions are rare. Like his Victorian predecessors, Storey remains outside his characters, looking in; he avoids interior monologues, allo ing the feelings of his characters to surface in their words and actions. Colin is the focal point of the novel--Mr. and Mrs. Saville are always referred to as "his father" and "his mother" even when the antecedent is unspecified--but Storey refuses to lose himself in a single point of view, preferring the role...