He also directed plays, including several of his own, and was the author of eleven books. From 1968-93 he reviewed drama for Commonweal, and in 1978, he began an annual American Theatre Watch for The Georgia Review. His critical work ranges from The Playwright as Thinker to Thinking about the Playwright. In his station in the front line of drama criticism, he has often been of service to shows preparing for Broadway with his vigorous and informed reactions to their tryouts. Carlson values theatre which reaches across national boundaries to have an impact in unexpected places, theatre which challenges its audiences with feminist and post-modern thinking, yet theatre which remains in touch with the great plays of the past.
It is the aim of the selection committee to foster the spirit of the award by honoring criticism which demonstrates the highest level of critical thinking about theatre. Kalb demonstrated a tireless devotion to uncovering the intentions of the theatrical auteur. He has also taught dramatic literature and dramaturgy at New York University and at Columbia University. Mitchell was born in Bethlehem, Pennsylvania and grew up in Dallas, Texas, where his father was an arts administrator and amateur playwright and his mother a professional singer and songwriter. In 1997, in the New York Association of Black Journalists Awards, Mr. He has served as a theatre critic for the Hudson Review, the New Leader, and Commonweal, and as a film critic for Esquire. Uncle Samuel Nixon-Nirdlinger was an important theater manager who secured free tickets for Nathan's family.
In the late 1980s, Kalb was awarded a Fulbright Fellowship to Germany and lived in West Berlin for two years, where he began to write about German theatre. He thought that they were far superior to those of any other critic of his time, or of any other time in American dramatic history. Nathan was too much of the civilized, metropolitan man to denounce the violent anti-Catholicism of Sean O'Casey, for whom he had not only vast respect but deep affection. His honors include a Wall Street Journal Fellowship, the Roger Machell Prize for theatre writing, and the Yale Writing Prize. He edited Contemporary American Monologues for Women and Contemporary American Monologues for Men and New Dramatists 2000. Most of his plays are contained in the three volumes, Monstrous Martyrdoms, Rallying Cries, and The Kleist Variations.
The Committee has designated as the award-winning essay Mr. In a series of nuanced analyses, Cole also demonstrates the importance of scenes of reading in a striking variety of plays. I saw Nathan in the company of nobility—members of the former Russian royal family, members of the former Spanish royal family, members of the family of French pretenders to the French throne, members of the former Yugoslav royal family and of the former Bulgarian royal family and of the former Rumanian royal family. He began his professional career writing theatre, film, and book reviews for the Boston Phoenix before joining the staff of the San Francisco Examiner in 1986. He has been a Fulbright Scholar, a Woodrow Wilson Fellow, a Ford Foundation grantee, and a Guggenheim Fellow. This is an extraordinarily scholarly book, at once cognizant of contemporary performance theory and informed by forgotten historical moments, styles, and cultures.
Such material may be sent to the Chair of the Nathan Committee at. When the Hitler madness came upon the scene, Nathan was perturbed—I fear I cannot use a more powerful word. The collection of essays published under the title Common and Uncommon Tasks is a notable contribution to contemporary dramatic criticism, characterized by intellectual scope, practical knowledge, and genuine concern for the state of the theatre in our times. Well, Henry James made the same mistake, and so has Hemingway, who is one of the worst playwrights who ever lived. He respected them, he was amused by them, he was even afraid of them, but he didn't like them. Among the books he has written are Shakespeare Our Contemporary, The Bottom Translation, and Eating of the Gods.
I pointed out his error to him. Energetically and inventively he chronicles the process of experimental drama, interviewing its practitioners, analysing rehearsal as well as performance, to give his readers unusually privileged glimpses into the creation of dramatic art. He has published more than a dozen books, including The Chekhov Theater: A Century of Plays in Performance, which won the Bernard Hewitt Award of the American Society for Theatre Research 1997 , and The Age and Stage of George L. Nathan perpetrated several bloomers in his copy. Eugene O'Neill had just married one of his later wives. Apparently he didn't want people to know he had any Jewish blood.
He joined the Boston Post as a reporter in 1926 and became the drama critic for the paper in 1934. His arts criticism in Windy City Times won the 1991 Peter Lisagor Award from the Headline Club the Chicago Chapter of the Society of Professional Journalists. But O'Casey also did a great deal for Nathan. Clearly a scholar, he brings to his analysis of Greek tragedy and the plays of Noel Coward an admirable knowledge of the times and places which produced them. In 1986-87, he became the first person to win the Nathan Award for a second time. He also makes a point of keeping the Boston audience informed about the theatre outside of Boston through his reviewing tours. Brustein first won the Nathan Award in 1962.
Like the prize-winning essay, Mr. He remained there for forty-five years, the rooms gradually filling with books and manuscripts. Nonetheless, Nathan's critical hauteur was often at odds with the cap-and-bells style in which he wrote. The Committee particularly commends him as a champion of the American drama, in all of its musical and non-musical variations. A girl in her twenties was very old to him. His articles on dramatic theory have appeared in The Drama Review and Tikkun magazine.
Nathan wrote during the most important period of our theatre's history and set critical standards that are still being followed. His first book, The Confusion of Realms, is a collection of essays on the theatrical arts in modern society. He apparently felt relaxed in the company of seventeen- and eighteen-year-olds. His principal research interests are in music from the 18th through 20th centuries, and he has published and given talks on Landini, Haydn, Mozart, Beethoven, Wagner, Brahms, Dvorák, Mahler, Tchaikovsky, Bartók, and various topics relating to the American musical and film music. He is a Usual Suspect at New York Theatre Workshop, and was a 2001-02 Senior Fellow of the National Arts Journalism Program.
McNulty was a member of The Village Voice Obie Award panel from 1995-2005, the last two years as chairman, and he chaired the Pulitzer drama jury in 2010. In 1963, he joined Newsweek as associate editor in charge of the Art section. From 1995-99, he was Co-Director of Exiles, a school for theatre training in Ireland. They're much better than he makes them out to be. These writings, no less than Mr. His research explores the margins between theater and related art forms such as closet dramas, plays that resemble visual art, novels in dramatic form, and digital and other forms of virtual theater. He had a romantic relationship with actress , beginning in the late 1920s and lasting almost a decade.