By Zoltán Szilassy
From the viewpoint of a Hungarian student who has spent a lot time within the usa, Zolt?n Szilassy seeks in the course of the dramaturgical kaleidoscope of the yankee l960s to find what's everlasting in many of the different background of the interval and to discover the whirlpool of strategies, a lot of that are nondramatic in foundation or character. The ebook is split into elements, “The Rebellious Drama” and “The Intermedia.” the 3 chapters partly 1 are “Edward Albee: First between Equals,” “Varieties of the Albee Generation,” and “The Dramaturgical Kaleidoscope of the Sixties.” half 2 comprises “Happenings and New functionality Theories,” “The local substitute Theater,” and “Conclusion, Outlook, and Reminiscences.” Surveying the yankee dramatic scene, Szilassy concludes: the eu observer should “hope that americans will preserve or relatively strengthen the type of theatrical equilibrium that duly made the sixties unforgettable either at domestic and abroad.”
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Extra info for American theater of the 1960s
The conventions falsely stress the heroism; the innovations do the same with the antiheroism of the individual, both in history and in private. This kind of apocalyptic clowning, including elements of philosophical tragicomedy, makes the plays of Jarry, Frank Wedekind, and Stanislaw Witkiewicz filter into Kopit's misfits and transforms the great characters of the American theatrical tradition into Madame Tussaud's blood relations. Besides provoking laughter, Kopit's "distorting mirrors" intensify the reverse of social violenceindividual helplessness.
The actual designer, Madame Rosepettle, intends however to remain faithful to the memory of her late husband and the frustrated commodore is unable to see through the tricks of the mysterious woman. In the growing frenzy of a real Cuban carnival, Jonathan kills the Venus's-flytraps, the talking fish, and finally Rosalie, who has decided to have a final go at seducing him. Madame Rosepettle, returning from the seaside where she has indulged in her usual sport of disturbing lovers with her electric lamp, finds the girl on her bed buried under the "fabulous stamp-book-and-coin-collection" of her son.
Rubinstein, Laurel Hollowaty, Irene Palamar, Martha Lampland, Kate Karakassis, Julius Novick, Ronald Tavel, Richard Kostelanetz, and Jan Wheelock. And, of course, my numerous Hungarian friends and colleagues who have given me constant help, most specifically to earlier reader of this research project and book: Dr. Charlotte Kretzoi, Dr. György Székely, Dr. Tamás Bécsy, and Dr. Gábor Mihályi. For linguistic and stylistic advice I owe special thanks to Helen Thomas, Christine Lilley, (Great Britain), and Jeff Harlig and John Murtha (United States).