Word: woolf
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Dates: during 2000-2009
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...over America, Fool for Love (1983) was the stark tale of two people locked inside a shared obsession--and a spare anthology of modern theater. The moral claustrophobia of No Exit, the strange sibling bond of The Glass Menagerie, the guilty sustaining secret of Who's Afraid of Virginia Woolf? and the menacing silences of Harold Pinter all brooded under the skin of Sam Shepard's naturalism. So the film version, which Shepard wrote and stars in, should be an event and not a puzzlement. In "opening up" the play, Robert Altman has dissipated some of its caged-animal tension...
...since 1982) and a long list of awards and honorary posts, including a term as poetry consultant to the Library of Congress. It is not hard to imagine his audiences of college students and Anglophiles treating him as lesser nobility, a surviving link to the Bloomsbury group of Virginia Woolf and the Oxford gang of W.H. Auden, Cecil Day Lewis, Louis MacNeice and Spender himself...
When Alan Schneider died in London in 1984 as a result of injuries sustained in a traffic accident, the American theater lost a director who had staged the U.S. or world premieres of Samuel Beckett's Waiting for Godot and Endgame, Edward Albee's Who's Afraid of Virginia Woolf? and Tennessee Williams' Slapstick Tragedy. Schneider personified the central virtue, and failing, of serious American stage artists: he so prized his integrity that he generally disdained Broadway and mistrusted popular success. He spent most of his later years directing novices at regional or university theaters, rather than have to contend...
...that it doesn't matter what you write. "I could do pretty much whatever I wanted," Michael Cunningham remembers fondly, "because nobody was likely to pay attention." That was before Cunningham wrote The Hours, his moving reimagination of the novel Mrs. Dalloway and the life of its author, Virginia Woolf. The book won a Pulitzer. Nicole Kidman got an Oscar for the movie. Just like that, Cunningham's precious obscurity was gone. "It's harder to feel the necessary degree of recklessness when people are paying attention," he says. "You have to be willing to fail...
Cunningham wants to be clear up front about the whole Whitman thing. "That came in later," he says, over a double cappuccino at a Greenwich Village cafe. "I suspect it will look to some people like [I thought], 'Virginia Woolf was a gold mine. I might as well try to cash in on Whitman as well.'" The poet appears in person only in the book's first part, a grim, oddly lyrical look at the lives of poor factory workers trapped in the filth and squalor of 19th century Manhattan. "Who was striding through all that but Mr. Walt Whitman...