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Eric Bentley's "Double" Lives

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Eric Bentley's ERIC BENTLEY'S "DOUBLE" LIVES Timothy J. Schaffer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2010 Committee: Dr. Jonathan Chambers, Advisor Dr. Christina Guenther Graduate Faculty Representative Dr. Ronald E. Shields Dr. Scott Magelssen © 2010 Timothy J. Schaffer All Rights Reserved iii ABSTRACT Dr. Jonathan Chambers, Advisor Eric Bentley is arguably one of the most prominent theatre scholar-critics of the twentieth century. He is perhaps best known for translating and advocating for Brecht's plays in English- speaking countries. In books such as The Playwright as Thinker, he makes the case for non- commercial theatre as a political force and valuable form of cultural expression. In his later career, he turned his attention towards playwriting, which he identifies as his most worthwhile pursuit. His transition from critic to playwright is just one of many major shifts in his life and career, which I argue is defined by doubleness. Bentley even describes himself as living several double lives. These shifts involve politics, sexuality, culture, and artistic expression. In this study, I analyze various writings from throughout Bentley's career in order to examine the sociopolitical energies at play in his work. Early in this study, I establish post-structural analysis as my overarching theoretical frame. I specifically employ the writings and theories of Michael Foucault, Stephen Greenblatt and the new historicists. Leftist politics and Marxism provide another broad arc to my study of Bentley's work. My theoretical approach allows me to examine his position within a constantly shifting field of power relations as it relates to public and private social, political, cultural, and artistic issues. Specifically, I look at the circular effects of the relations between Bentley and socialism, anticommunism, the New Left, the counterculture movement, and gay liberation. Throughout my analysis, I view artistic and social performance as a vital cultural expression and a valuable way of exercising power. I look to the House Un-American Activities Committee hearings, Vietnam War protests, the Radical Theatre Movement, and gay liberation as examples of how performance was at the foundation of various major social and political conflicts during iv the twentieth century. I believe that Bentley was very much aware of performance's role in these struggles and actively used his capacities as critic, playwright, and public intellectual to draw attention to this, despite his tendency to be caught between opposing sides. v ACKNOWLEDGEMENTS As someone who believes texts are collectively and culturally produced, it is impossible for me to thank all those responsible for assisting me at some point in the process of creating this study. With that in mind, I will attempt to express my gratitude to many individuals who helped me along the way and apologize to those I do not specifically name. Many educators provided valuable support throughout my many years as a student, perhaps most significantly, Dr. Jonathan Chambers, whose impeccably perceptive comments were invaluable not only during the writing of this dissertation, but throughout my entire time at BGSU. I hope to follow his example as I continue as a teacher, artist, and scholar. During my undergraduate years, Bryan Reeder was a constant source of valuable advice and guidance. I have a special gratitude to Dr. Julie Mollenkamp, who insisted that doctoral studies were right for me well before I was convinced. Many thanks to my committee members, Dr. Christina Guenther, Dr. Scott Magelssen, and Dr. Ronald Shields, for their insights before, during, and after my defenses. The challenging and intelligent discussions of my work made me a better scholar. As graduate coordinator, Dr. Lesa Lockford offered valuable assistance. Louise Small and Valerie Whipple's administrative expertise was invaluable in making all of this possible. I would like to express my gratitude to Dr. Henry Bial for providing Bentley's contact information. I would also like to thank Eric Bentley himself for responding to every question I put to him through email and in person. He was very obliging and generous. I cannot imagine my graduate studies without the various friends and colleagues whose support and camaraderie made the experience enjoyable. Dr. Vanessa Baker was good enough to vi give her critical perspective on numerous occasions, which remains very much appreciated. Visits with Drs. Hope and Mark Bernard were always good for lifting the spirits. Thanks and love to Nicole Mancino for the constant support and affection. I realize that I am incredibly fortunate. More thanks and more love to my extended family, especially Mark and Pam Macinski, who spoiled me ever since I can remember. I am extremely proud of my sister Rachel Schaffer and believe she would say the same about me. Absolutely none of this would be possible without my parents, Richard and Marlene Schaffer. The level of their unwavering support and personal sacrifice is impossible to quantify. Thank you. vii TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER ONE. "A Double Life" ...................................................................................... 21 "The Sum of Social Relations" .................................................................................. 21 "Social Democratic, Not Communist" ....................................................................... 26 "A Certain Deliberate Depersonalization" ............................................................ .... 31 Conclusions ............................................................................................................ ... 45 CHAPTER TWO. "A Rite of Purification" .......................................................................... 46 "Cheap Publicity Hounds" ........................................................................................ 49 "Bringing Their Theatres With Them" ....................................................................... 56 "The Missing Communist" ........................................................................................ 73 "The Sixty-Four-Dollar Question" ......................................................................... ... 82 "The Fall of HUAC's Bastille" .................................................................................. 96 Conclusions ........................................................................................................... .... 98 CHAPTER THREE. "The Un-Liberated University" .......................................................... 100 "The Clamor of the World's Irrationality" ................................................................. 101 "Boldly Bearing Witness" .......................................................................................... 117 "Theatre in Extremis" ................................................................................................ 129 Conclusions ..................................................................................................... .......... 137 CHAPTER FOUR. "Gay is Not Queer"................................................................................ 139 "Prettily Vacuous Laughter" ...................................................................................... 140 "The Worst of Crimes" .............................................................................................. 153 viii "The Passion of Fraternity" .............. ......................................................................... 166 Conclusions ............... ................................................................................................ 179 CONCLUSIONS ................................................................................................................... 181 BIBLIOGRAPHY .................................................................................................................. 189 APPENDIX ............................................................................................................................ 199 1 INTRODUCTION If the past often helps us to understand the present, it is the present which establishes our historical perspective. The present is every historian's point of departure. But the trouble with the present is that we know too much about itor think we do. There is the danger of spending so much time on the point of departure that we never actually depart. (The Playwright as Thinker 3) Eric Bentley, prominent twentieth century theatre critic and scholar, describes his life in terms of duality, observing, "I have led not just one type of double life but several" (Bentley on Brecht 478). These double lives are evidenced throughout his body of work and pertain to a number of aspects regarding his life. While he was possibly best known as a theatre critic for the New Republic, author of critical works including The Playwright as Thinker, and advocate of Bertolt Brecht, Bentley identifies playwriting as his primary goal. In a 2002 interview with N. Graham Nesmith, he explains, "What I have the most ambition about is to be a playwright. That is what I was working toward" (Nesmith Interview 102). Along with his concealed playwriting ambitions, he spent decades as a closeted homosexual, eventually coming out during the late
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