By Zoltán Szilassy
From the point of view of a Hungarian student who has spent a lot time within the usa, Zolt?n Szilassy seeks during the dramaturgical kaleidoscope of the yankee l960s to find what's everlasting in a number of the diverse history of the interval and to discover the whirlpool of strategies, a lot of that are nondramatic in foundation or character. The booklet is split into components, “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 includes “Happenings and New functionality Theories,” “The local replacement Theater,” and “Conclusion, Outlook, and Reminiscences.” Surveying the yankee dramatic scene, Szilassy concludes: the eu observer should “hope that american citizens will continue or really enhance the type of theatrical equilibrium that duly made the sixties unforgettable either at domestic and abroad.”
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Extra resources for American theater of the 1960s
Its psychological tensions are real enough; its political attitudes assumed and unconvincing. " 9 Statements instead of argumentsthese are what Marowitz makes in his writing. The English critic is still misled by the empassibilite power of Freud, nee Strasberg, or vice versa, on Broadway. The problems may be the same as those in The American Dream, but in this play they have to do with the intelligentsia who are not in the mainstream of the river. 10 Following W. G. Knight's interpretation of Hamlet, one ought to reverse the cast.
8 Daddy and Mommy Page 17 have gotten a richer characterization in this play than in The Sandbox, not to mention the appearance of the Ionescoean character, Mrs. Barker, who will reappear as a "Long-Winded Lady" in Box-Mao-Box. Then, of course, there is the Kafkaistic-Pinterian "Van Man" soon to come. The Sandbox and The American Dream are important not only for their usefulness in pointing out correlations but as micromodels that help us to reestablish the ancient European philosophical drama.
4 I consider it not only the name of any frustrated family's desired equilibrium but also that of Albee's personal technique of fusing tradition and innovation. , A Delicate Balance, and in my opinion Seascape and The Lady from Dubuque. In addition, I shall point to similarities between Albee and his peers rather than Page 13 dwell on his toooften mentioned heritage of O'Neill, Williams, Strindberg, Ibsen, and Chekhov. Although The Zoo Story (1959 1960) can be interpreted as a clarion for the sixties, most literary and theater historians exaggerate its importance.