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W tym klasycznym przewodniku po reżyserii podążamy krok po kroku - od wyboru sztuki, przez wszystkie etapy pracy nad jej realizacją, aż po przedstawienie i to, co następuje po nich. Harold Clurman, student Ryszarda Bolesławskiego, jeden z najwyżej cenionych reżīserów XX wieku, opowiada o blaskach i cieniach współpracy z takimi twórcami jak Marlon Brando, Arthur Miller, Julie Harris czy Lillian Hellman. Przedstawia też własne notatki reżyserskie do dziesięciu ze swoich Najsłynniejszych realizacji. Prosta, gustowna i klarowna opowieść o tym, czym naprawdę jest tchnąć...

"A straightforward, tasteful, and articulate account of what it is to bring a play to palpitating life upon a stage" (The New York Times Book Review).

In this classic guide to directing, we are taken logically from the choice of the play right through ever aspect of its production to performances and beyond. Harold Clurman, director of such memorable productions as A Member of the Wedding and Uncle Vanya, describes the pleasures and perils of working with such celebrated playwrights and actors as Marlon Brando, Arthur Miller, Julie Harris, and Lillian Hellman....

When does forgetting become not knowing one forgets? Edith Martin, 78, must make a momentous decision before it is too late. Only to Leo Martin, her longtime friend, does Edith confide her intention. In Hebraic legend there are thirty-six Just Men chosen by God to take on the world's suffering. Is Leo one of them? This novel is about individual choice, the demands of friendship, and the dilemma of being human.

The Group Theatre was perhaps the most significant experiment in the history of American theater. Producing plays that reflected topical issues of the decade and giving a creative chance to actors, directors, and playwrights who were either fed up with or shut out of commercial theater, the "Group" remains a permanent influence on American drama despite its brief ten-year life. It was here that method acting, native realism, and political language had their tryouts in front of audiences who anticipated--indeed demanded--a departure from the Broadway "show-biz" tradition. In this now classic...

-The best theatre book I read this year. The remarkable thing is its lack of bunk. Actors and watchers of actors will find it a book to mark up and read again.---Dan Sullivan, Los Angeles Times

The national news media, as now practiced, were born in the 1950s, revealed their strength in the 1960s (Vietnam), asserted it in the 1970s (Watergate), and were hammered for it in the 1980s. By the mid- and late 1980s, after historic libel suits, with the press knocking off presidential candidates and Supreme Court nominees, unraveling the Reagan presidency, and in a position to overwhelm any individual or institution, a new era in press-public tension had arisen from the depths of America's civic religion: fair play.

In this account of the media mandarins' rise to uneasy...

The national news media, as now practiced, were born in the 1950s, revealed their strength in the 1960s (Vietnam), asserted it in the 1970s (Watergate), and were hammered for it in the 1980s. By the mid- and late 1980s, after historic libel suits, with the press knocking off presidential candidates and Supreme Court nominees, unraveling the Reagan presidency, and in a position to overwhelm any individual or institution, a new era in press-public tension had arisen from the depths of America's civic religion: fair play.

In this account of the media mandarins' rise to uneasy...

This classic collection the only one-volume selection of Arthur Miller's work available presents a rich cross section of writing from one of our most influential and humane playwrights, containing in full his masterpieces The Crucible and Death of a Salesman. This essential collection also includes the complete texts of After the Fall, The American Clock, The Last Yankee, and Broken Glass, winner of the Olivier Award for Best Play of 1995, as well as excerpts from Miller's memoir Timebends. An essay by Harold Clurman and Christopher Bigsby's...

A collection of commentaries, reviews and articles by Harold Clurman, director and theatre critic. Clurman was founder of the Group Theatre and he directed Wedding (with Julie Harris), Golden Boy by Clifford Odets and Incident at Vichy by Arthur Miller.