Word: theater
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Dates: during 1960-1969
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...London stage mirrors the transatlantic crisis in theater. Appraising current English offerings, TIME'S drama critic T. E. Kalem finds that established playwrights are mute or faltering, while younger talents fail to fulfill their promise. There is a constant tremor of faddish experiments, but no significant explosion of creative energy. The measure of how much is expected of the stage is that everyone complains...
...Round. Osborne began his career in fury at a social structure that seemed to bar men like him from wealth, privilege and social status. He now sounds like a Tory arriviste for whom all the champagne has proved to be flat. Both plays focus on the narcissistic aristocrats of theater and film...
...strong disciplinary instincts, is incomparably the most influential. He may be more of a comet than a planet, but currently light follows wherever he streaks. His Marat/ Sade, with its writhing choreographic movement and untrammeled vocabulary of sound, was the first step toward a revolution in drama: making the theater a director's medium...
According to the theater's constitution, power has been divided more or less equally among playwright, actor and director. Brook has altered that drastically. He has lowered the visibility of the actor, by making him much more of a group figure, an inter-actor-the difference, as it were, between Greek sculpture and Egyptian bas-relief. Similarly, the playwright in Brook's hands has been reduced to a sort of coauthor. Brook supplies, or imposes, a coeval text of ritualistic sounds and gestures that often competes with the playwright's lines. At its worst, this method generates...
Polish avant-gardist. Grotowski argues that theater exists to shatter taboos that separate man from himself. The relentless iconoclasm of the age has pretty much destroyed religious, political and social taboos. According to Grotowski, only the human body retains an aura of sanctity that lends itself to exposure, shock and outrage...