Elia Kazan: a Life PDF Book

Total Page:16

File Type:pdf, Size:1020Kb

Elia Kazan: a Life PDF Book ELIA KAZAN: A LIFE PDF, EPUB, EBOOK Elia Kazan | 860 pages | 22 Aug 1997 | The Perseus Books Group | 9780306808043 | English | Cambridge, MA, United States Elia Kazan: A Life PDF Book His father, Giorgos Kazantzoglou, had fled Kayseri, a small village in Anatolia where for five hundred years the Turks had oppressed and brutalized the Armenian and Greek minorities who had lived there even longer. Kazan's influence. Elia Kazan, original name Elia Kazanjoglous b. He has three wives and is unfaithful to all of them up to the age of seventy. Aug 25, Krister Ekeroth rated it it was amazing. He gives us a frank and affectionate portrait of Marilyn Monroe. At one point, he sat his parents down and recorded their answers to his questions. Press of Mississippi pp. He chalks all of this up to either his Anatolian heritage he frequently uses this as an excuse for why his marriages all fell apart or simply in the name of self-discovery. But if you are interested in how a director evolves and works, this is the biography for you. His father had become a rug merchant after emigrating to the United States and expected that his son would go into the same business. Director Stanley Kubrick called him, "without question, the best director we have in America, [and] capable of performing miracles with the actors he uses. Dec 29, Joseph Longo rated it it was amazing. The film made use of extensive on-location street scenes and waterfront shots, and included a notable score by noted composer Leonard Bernstein. It was followed by Pinky , one of the first films in mainstream Hollywood to address racial prejudice against African Americans. In addition to these awards, Kazan has a star on the Hollywood Walk of Fame , which is located on Hollywood Boulevard. Sign in to Purchase Instantly. And it transcends to honesty from one of the most important artists I confess to thinking that Kazan's effort in theatre and film are among the most important during the 20th century. What's worse, I think he actually believes it. Panic in the Streets. Thanks for telling us about the problem. April 3, Ernst Ludwig Kirchner. There were rumors that he "kept a loaded gun in his studio trailer; that he drove his motorcycle dangerously down studio streets or sound stages; that he had bizarre and unsavory friends. His films were concerned with personal or social issues of special concern to him. That apparently wasn't an issue for the person who owned this copy before me, as they apparently gave up in , perhaps because of all the adultery. He first directed two short films, but his first feature film was A Tree Grows in Brooklyn , one of his first attempts to film dramas focused on contemporary concerns, which later became his forte. Jul 14, John rated it really liked it. In , he introduced Warren Beatty in his first screen appearance with a starring role in Splendor in the Grass , with Natalie Wood ; the film was nominated for two Oscars and won one. For those who want to know how he made artistic decisions and how he learned from those decisions, you will be satisfied. Audio Software icon An illustration of a 3. Kazan was noted for his close collaboration with screenwriters. His perceptiveness, and his willingness to repeatedly unpick his own work and explain why some things work and others don't, can be exhilarating to read I'd argue, incidentally, that he's a bit too harsh on several of his films, particularly The Last Tycoon. Greek forces are reclaiming Anatolia Elia Kazan: A Life Writer Kazan Conflict Elia Kazan had no desire to work for his father as a rug merchant. He is extremely candid about his struggles professionally and personally. He's an entertaining, insidious companion, cannily shapes your perceptions of contemporaries like Clifford Odets, Lee Strasberg and Nicholas Ray through detailed, vividly sketched portraits, and offers you a close-to-front-row seat at several of the key theatrical events of the 20th century, but you'd trust him about as far as you could kick him. Elia Kazan born Every time he goes on and on about ' self discovery ' an other one of his alibis I feel like rolling my eyes. I guess his story is also one of the American Dream, about how anybody can come to this country and make it big. Books by Elia Kazan. One of the most interesting sections, is when Kazan goes back to his home country- Greece- to shoot a film. Kazan writes, "I don't move unless I have some empathy with the basic theme. Considering his age, he also feared that he might die before the completion of this book. I still like it when I see it," writes Kazan. What's the most striking and This is quite a tome, and Kazan had quite a life, so I guess it's appropriate that this autobiography is close to a thousand pages. With her "permission," I cut the book's last pages off during my completion of those pages. Martin Scorsese has directed a film documentary, A Letter to Elia , considered to be an "intensely personal and deeply moving tribute" [74] to Kazan. Honorary Golden Bear. Kazan called this his "first real film" because of those factors. Kazan seems to have been both inside and outside the Hollywood community,perhaps more outside than inside. But if I ever end up writing an end-of-life autobiography, I hope that I can do it with a bit more vividness, concision, and color than Kazan did. One word to sum up: mid-honesty. Peter Lamont. Before shooting a seduction scene between Eli Wallach and Carroll Baker , he privately asked Wallach, "Do you think you actually go through with seducing that girl? Ernst Ludwig Kirchner. John Steinbeck! He has not learned anything. I thought about it, and yeah, maybe my friend was right. Kazan influenced the films of the s and s with his provocative, issue-driven subjects. He is not sentimental man - he revisits and discusses detailed accounts of his life directly, open and honestly. The Purloined Clinic. Although he tries to keep in in check , he fails miserably and the anger bubbling under is easy to spot and as are his backhanded 'compliments' and oblique 'observations'. And at times, he does attain the complete freedom he has talked about. One of the chief joys is reading the throughline of Kazan's story from an immigrant child under the thumb of his culture and father's rules who broke free to live an artistic life as an in-demand director. Co-star Julie Harris worked overtime to quell Dean's panic attacks. Kazan discusses in depth, his relationships with his parents, his wives, mistresses, his experiences in New York and Hollywood and the backlash he experienced after testifying to the HUAC. Best Film. Return to Book Page. The definitive biography of this brilliant polymath--director of the National Gallery, author, patron of the Needless to say her portrayal is not really flattering and their marriage was a sham in a different way from the Molly one. Product Details. I would have been interested more in reading about his directorial process, the difference in blocking films versus plays, his writing routines, and so on. Constantinople , Ottoman Empire now Istanbul, Turkey. Not to mention she was sexless and Kazan had a very complicated relationship with women's sexuality. This would be a controversial pick for the Academy of Motion Pictures Arts and Sciences due to Kazan's past history regarding his involvement with the Hollywood Blacklist in the s. Autobiographical yes, captivating no. And he visits his distant relatives, he experiences life there as an outsider. Director Stanley Kubrick called him, "without question, the best director we have in America, [and] capable of performing miracles with the actors he uses. Elia's brother, Avraam, was born in Berlin and later became a psychiatrist. By such means, a famous director has written a book that offers the kind of human wealth we find in a major novel. Elia Kazan: A Life Reviews Elia Kazan: A Life. He paints the hearing as being as deleterious to his standing as a director as to his reputation as a liberal. May 07, Kyle rated it it was ok. I'm glad I read it. There is a lot of history here and I enjoyed learning more of the history of stage and screen in which Kazan was a central figure. Howard N. In he played the role of a strike-leading taxi driver in a drama by Clifford Odets, Waiting for Lefty , and his performance was called "dynamic," leading some to describe him as the "proletarian thunderbolt. A Life has that candor of confession which is possible only when the deepest wounds have healed and honesty can achieve what honesty so rarely arrives at—a rich and hearty flavor. Kazan tries, valiantly and vainly, to set before us the complicated life of the artist - himself. Enlarge cover. The Visitors. Thanks for telling us about the problem. I hesitated about that for a long time. Out of it, though, came his greatest work, the enduringly troubling On the Waterfront , in which Marlon Brando plays an uneducated, washed-up boxer who turns informant, and Kazan justifies his former behaviour by equating the reporting of mobsters who've infiltrated a union and killed at least two people with… ratting out some actors because they used to belong to a political party. Every morning, Marcel Proust sipped his two cups of Kazan also retraces his own decision to inform for the House Un-American Activities Committee, illuminating much of what may be obscured in McCarthy literature.
Recommended publications
  • BACKSTORY: the CREDITS an Actor
    BACKSTORY Your behind-the-scenes look at TimeLine productions YESTERDAY’S STORIES. TODAY’S TOPICS. From Artistic Director PJ Powers a message Dear Friends, that their “Person of the — can influence history is made With his blend of social classic for the ages. You just Year” was You. Me. Us. The through activism, be On behalf of TimeLine’s not only in commentary and might be surprised that the average citizen. it personal, social or entire company, I am government emotional complexity, age in which it was written political. thrilled to welcome you to Admittedly, upon first buildings and Odets revolutionized the really is not our own! our 11th season! Each year hearing that, I thought There are many complex at corporate American theater during As we usher in a second we go through a series of it was a poor excuse for issues — not the least of board tables, but in the The Depression by putting decade of making history at discussions about the issues not choosing a person of which will be a Presidential homes and workplaces of the struggles and longings TimeLine, we’re delighted and types of stories we national prominence — a election — that will demand people like you and me. of everyday citizens on the to share another Odets stage. With Paradise Lost, want explore, and this year single someone who had great thoughtfulness in the We begin our season-long play with you. With much he gives voice to those our deliberations seemed made a sizeable imprint on coming year. Each of us will conversation by revisiting to discuss, I hope our little individuals and exposes a even more extensive and issues of global importance.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody Their Characters
    Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-14-2019 Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/honors_proj Part of the Theatre and Performance Studies Commons Recommended Citation Germaine, Alyssa. (2019). Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters. In BSU Honors Program Theses and Projects. Item 372. Available at: https://vc.bridgew.edu/honors_proj/372 Copyright © 2019 Alyssa Germaine This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Love the Art in Yourself: Empowering Actors to Honestly, Comfortably, and Successfully Embody their Characters Alyssa Germaine Submitted in Partial Completion of the Requirements for Departmental Honors in Theatre Bridgewater State University May 14, 2019 Dr. Colleen Rua, Thesis Advisor Dr. Heidi Bean, Committee Member Professor Miranda Giurleo, Committee Member INTRODUCTION As an actor, I have performed in more than twenty plays and worked with ten different directors over the years. The outcomes of these performances have varied, and so has the effectiveness of the different approaches I have experienced. As an early career director, I am working to find my own creative voice as well as my personal style of directing and communicating with actors. The purpose of this process is to address the relationship between the actor and the director and how this can best serve a production from the rehearsal process and into performances.
    [Show full text]
  • Clifford Odets' Social Criticism and Economic Determinism
    ===================================================================== Language in India www.languageinindia.comISSN 1930-2940 Vol. 19:6 June 2019 ==================================================================== Clifford Odets’ Social Criticism and Economic Determinism Dr. S. Chelliah, M.A., Ph.D., D.Litt. Professor, Head & Chairperson School of English & Foreign Languages Department of English & Comparative Literature MADURAI KAMARAJ UNIVERSITY MADURAI – 625 021. Tamil Nadu, India Cell :9442621106 / 7339129324 [email protected] ======================================================================== Abstract This paper projects Clifford Odets ‘Social Criticism’ and ‘economic determinism’ employed in his plays. Clifford Odets is considered as one of the most prominent American playwrights and he tries to show the reality of the American society and the suffering of ordinary people and their struggle to fulfill their personal ambitions during the time of depression. Added to this, he had a belief that socialism offers only solution for the social economic problems. Keywords: Clifford Odets, Societal relationship, economic determinism, Individual benevolence, depression, economic System What is generally stated is that social criticism starts with a conviction that art’s relation to society is vitally important and that the investigation of societal relationships may deepen one’s aesthetic response to a work of art. Everyone knows that the social criticism has been discussed along three lines. The first line is of those critics who are political zealots, who did not view it outside their party politics and who have been attacked by the later generation for vulgarizing Marxist theories. Christopher Candwell and Granville Hicks are generally brought into this fold. The second category which includes George Thompson, Ralbh Fox, Terry Eagleton, Raymond Williams etc., made other go to Marx and Engels and reinterpret their theories.
    [Show full text]
  • Clifford Odets's Dog of Betrayal: Awake and Sing! in Performance Robert Skloot
    Spring 1990 179 Clifford Odets's Dog of Betrayal: Awake and Sing! in Performance Robert Skloot From the early agit-prop Waiting For Lefty to the last parable The Flowering Peach, a look at Clifford Odets's work for the stage over two decades reveals one theme whose appearance could be called an obsession. This unifying theme is the key to understanding Odets as a writer and, equally important, is of great use in directing Odets for performance. Examining how it operates so forcefully in his greatest play Awake and Sing! provides guidance for the director who must concretize the stage images which are necessary if Odets's pervasive and propulsive thematic concern is to move and touch modern audiences. I refer to what I call (adapting Mr. Prince's phrase in Rocket to the Moon) "the quiet, biting dog of betrayal." In this essay, I shall explore how betrayal is at work in Awake and Sing!, and how a recent production sought to reflect that theme in performance. "... [T]he life of New York," wrote Robert Warshow in his famous 1946 essay "Clifford Odets: Poet of the Jewish Middle Class," "can be said at this particular stage in the process of acculturation to embody the common experience of American Jews. Clifford Odets is the poet of this life."1 It is Odets's audience (as well as his subject) which is noted in Warshow's title, and its preoccupation with "getting along" within the competition of daily life that became the psychological place from which Odets began his investigations of personal and political relationships.
    [Show full text]
  • PARADISE LOST by Clifford Odets Directed by Louis Contey
    PARADISE LOST by Clifford Odets directed by Louis Contey STUDY GUIDE prepared by Maren Robinson, Dramaturg Table of Contents Clifford Odets: Early Influences ...................................................... 3 Clifford Odets and Paradise Lost ..................................................... 4 American Utopianism ...................................................................... 5 The Group Theatre: Utopia and Its Discontents ........................... 6 The Great Depression ...................................................................... 9 The Current Middle-Class Crisis .................................................... 9 1930s Currency ............................................................................... 11 The Playwriting of Clifford Odets ................................................. 11 The Legacy of Clifford Odets ......................................................... 12 Timeline ........................................................................................... 13 Discussion Questions ..................................................................... 17 Projects for Students ...................................................................... 18 Resources ........................................................................................ 19 2 Clifford Odets: Early Influences “Dear American friend. That miserable patch of event, that mélange of nothing, while you were looking ahead for something to happen, that was it! That was life! You lived it!” — Clifford Odets, 1963 Clifford
    [Show full text]
  • A Reflection of the Theatre in the Thirties
    THE GROUP THEATRE: A REFLECTION OF THE THEATRE IN THE THIRTIES Abby Ruth Eiferman April 29, 1972 S~ng us a song of social significance Or you can sing until you're blue Let meaning shine in every line Or we wonat love you. 1 This snatch of. lyrics, sung in the International Ladies Garment Workers. Union revue Pins and Needles of 1937 captures an<~ important aspect of the literary spirit of the 1930' s. This decade was marked by a tendency of artists towards political and social commitment, a time when the reconstruction of American .. socie~y,~nq. the menace of Fascism was a cause celebre to which artists 90u1.d rally. American artists had always been interested in chang!!lgsociety, or at least exposing the evils they perceived. "but the 1930' s saw a new kind of commitment and dedication. The economic breakdown caused by the depression had invo~ed a search for social alternatives much more intense than the .complaoency of the prosperou;, 1920' s had witnessed. -, . " ' .. "" ,;; To many writers of the twenties, the sooial enemies were straw ~ '. ; -., men, the Puritans and the Philistines, and not, significantly, the SystemWhieh had nurtured them. To those writers who were - disgusted by the emptiness they perceived in American during- , ' I this decade~ escape lay simply in flight to the bohemianism of Greenwich Village or the cultural richness of Pari~. The only time the twenties had witnessed a consolidation of the artistic-intellectual community was the rally to defend Sacco and Venzettl. But the disparate elements brought together were -2 ... dispersed after the execution of the anarchists, not ,to converge again until the middle of the next decade.
    [Show full text]
  • Stella Adler and Harold Clurman
    Stella Adler and Harold Clurman: An Inventory of their Papers in the Performing Arts Collection at the Harry Ransom Center Descriptive Summary Creator: Adler, Stella, 1902-1992 Creator: Clurman, Harold, 1901-1980 Title: Stella Adler and Harold Clurman Papers Dates: 1898-2003 (bulk 1950-1990) Extent: 56 document boxes, 5 oversize boxes, 1 oversize folder (26.5 linear feet) Abstract: Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, and Harold Clurman (1901-1980), director, producer, drama critic, and co-founder of the Group Theatre, were married from 1943-1960. The Stella Adler and Harold Clurman papers consist of typescript and handwritten manuscripts, notes, lecture transcripts, annotated texts of plays, class schedules, clippings, proofs, photographs, slides, negatives, correspondence, legal and financial papers, datebooks, certificates, brochures, and theater programs, all ranging in date from 1898 to 2003. Adler’s teaching material makes up a large portion of the archive. Language: English and Yiddish Access: Open for research Administrative Information Acquisition: Purchase (R 15221), 2003 Processed by: Katherine Mosley, 2006 Repository: The University of Texas at Austin, Harry Ransom Center Adler, Stella, 1902-1992 Biographical Sketches Stella Adler (1902-1992), founder of the Stella Adler Conservatory of Acting, is best known as a teacher of the principles of acting and character and script analysis. As a child, she began acting in the New York Yiddish Theater with her parents, Jacob and Sara Adler. She joined the American Laboratory Theatre of Russian actor and teacher Richard Boleslavsky in the mid-1920s and in 1931 became part of the Group Theatre through Harold Clurman, whom she married in 1943.
    [Show full text]
  • Marlon Brando and James Dean
    Universidade de Lisboa Faculdade de Letras The Kazan Method: Marlon Brando and James Dean Mariana Araújo Vagos Tese orientada pelo Prof. Doutor José Duarte e co-orientada pela Prof. Doutora Teresa Cid, especialmente elaborada para a obtenção do grau de mestre em Estudos Ingleses e Americanos 2020 2 For my grandfather, who gave me my first book 3 4 Acknowledgements I would first like to thank and acknowledge the strong women in my family who have taught me the meaning of perseverance and are a continuous source of inspiration. I am deeply grateful to my grandfather José, the head of our family, for giving us the tools and encouragement that allowed us to become who we are. He might no longer be among us, but he continues to be our strength and motivation every day. I would like to extend my gratitude to my thesis advisor, Professor Doutor José Duarte, for his patience and understanding throughout the years, until I was finally able to close this chapter of my life. My gratitude also goes to my co-advisor, Professora Doutora Teresa Cid, for her contribute and for accepting be a part of this work. 5 Resumo O objeto principal desta dissertação é o trabalho do realizador Elia Kazan e a sua contribuição para o “Method Acting”. Como tal, o foco será no trabalho desenvolvido pelo realizador com o ator Marlon Brando no filme On the Waterfront (Há Lodo no Cais, 1954), e com o ator James Dean em East of Eden (A Leste do Paraíso, 1955). De modo a explorar o conceito de “Method Acting” como uma abordagem à formação de atores, foi primeiro necessário conhecer o seu predecessor o “System”.
    [Show full text]
  • Willy Loman and the Method
    Spring 1987 151 Willy Loman and the Method Steve Vineberg* A great new performance in a famous role illuminates corners of a dramatic work previously hidden in the shadows, and thus it always implies an annex to the body of critical material focused on the play. When Dustin Hoffman took on the role of Willy Loman, the protagonist of Arthur Miller's Death of a Salesman, in Michael Rudman's Broadway revival in 1984, he suggested a way of looking at the character and the play that challenged Lee J. Cobb's justly famous portrayal in the original production, in 1949. Jux• taposed, the two performances demonstrate the distance between a classical reading of Miller's play, which he advocated strongly in his own critical writings within the decade of its unveiling, and a more contemporary, naturalistic approach—what we might call a revisionist Salesman. And since Hoffman is the first major Method actor since Cobb to make a stab at Willy, a consideration of the two performances also underscores the connections between the play and the history of American Method acting. In this essay I would like to discuss those connections and then compare the two interpreta• tions, drawing on a viewing of Hoffman's work in September 1984 and on Cobb's 1966 television recreation of his stage performance. We are denied, unfortunately, a record of Cobb's original appearance in the role, in 1949, but his splendid recreation of the role in 1966 is, I think, a fair indication of one actor's interpretation; moreover, it represents a sufficient distance from Hoffman's, eighteen years later, to make a strong argument for the difference between the readings.
    [Show full text]
  • The Group Theatre: an Evaluation
    The Group Theatre: an evaluation Item Type text; Thesis-Reproduction (electronic) Authors James, Barry Lee, 1945- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 02:29:25 Link to Item http://hdl.handle.net/10150/554486 THE GROUP THEATRE:. AN EVALUATION Barry Lee James A Thesis Submitted to the Faculty of the DEPARTMENT OF DRAMA In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 3 STATEMENT BY.AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: niL WILLIAM A. LAN( Assistant Professor <£f Drama COPYRIGHTED BY BARRY LEE JAMES 1973 iii ACKNOWLEDGMENTS Gratitude is expressed to Professor Peter R e Marroney, Head of the Department of Drama, for his inspiration in the writing of this thesis.
    [Show full text]
  • CLIFFORD ODETS and the THEATRE of the '30S Robert Skloot
    1 OUR DEBT TO ODETS: CLIFFORD ODETS AND THE THEATRE OF THE ‘30s Robert Skloot University of Wisconsin-Madison The commemorations of the centennial year of Clifford Odets’ birth, of which this paper may be the last example, have seen a number of events that restore, perhaps only temporarily, his name to the list of historically important American playwrights. There can’t be, of course, any guarantee that a playwright’s work will live on after death, and artistic graveyards are full of plays and novels, symphonies and landscapes that once had received both attention and predictions of eternal success. It is the critic’s job to visit and explore these cemeteries (in which, as in all such places, history can be found and interpreted) to see if the digging up of bones might reveal either a premature burial or something asleep and requiring an awakening. In the preface to the publication of his first six plays Odets himself commended his work thus: “My belief...is that the plays will say whatever is to be said; most of them have bones in them and will stand up unsupported.” (Odets, ix) The central question attached to the centennial commemoration is this: what are we to make of Clifford Odets’ plays, that work for which he will be remembered, early in the 21st century? and do they yet contain some things of interest to us seven decades on? It’s probably no surprise that I’ll provide an affirmative answer, and I’ll attempt to assess his work from a perspective I think will be both revealing and useful in advocating for Odets’ rehabilitation beyond the commemorative proceedings of which this talk is one small, belated contribution.
    [Show full text]