Read e-book online The American Stage and the Great Depression: A Cultural PDF
By Mark Fearnow
ISBN-10: 0521561116
ISBN-13: 9780521561112
The yank level and the nice melancholy: A Cultural historical past of the gruesome proposes a correlation among the divided ''mind'' of the US in the course of the melancholy and renowned degree works of the period, that are interpreted as theatrical reflections of melancholy culture's feel of being trapped among a discredited previous and a nightmarish destiny. the writer analyzes the Thirties as an period of the ugly, within which the irreconcilable have been compelled into annoying and dynamic coexistence.
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Additional info for The American Stage and the Great Depression: A Cultural History of the Grotesque
Sample text
The screenplay by Anita Loos and Jane Murfin was adapted from the stage play. The film was directed by George Cukor and starred Norma Shearer as Mary Haines, Rosalind Russell as Sylvia Fowler, Paulette Goddard as Miriam Aarons, Joan Fontaine as Peggy Day, and Joan Crawford as Crystal Allen. Â < previous page < previous page page_173 page_175 next page > next page > Page 175 Notes Introduction: Loving the Grotesque 1. ''Long-Sought Gunman Slain by Police in Country Club," New York Times, 17 June 1935, p.
Scenery by Watson Barratt. Original cast: Joe Eddie Dowling Nick Charles De Sheim Tom Edward Andrews Kitty Duval Newsboy Julie Haydon Ross Bagdasarian Drunk John Farrell Willie Will Lee Tom Dudley Harry Edward Andrews Curt Conway Gene Kelly Wesley Reginald Beane Lorene Nene Vibber Blick Grover Burgess Arab Houseley Stevens, Sr. Mary L. Krupp McCarthy 50 Celeste Holm William Bendix Tom Tully 51 Kit Carson Nick's Ma Len Doyle Michelette Burani Sailor Randolph Wade Elsie Cathie Bailey A Killer Evelyn Geller Her Sidekick Mary Cheffey A Society Lady A Society Gentleman First Cop Second Cop Eva Leonard Boyne Ainsworth Arnold Randolph Wade John Farrell The production ran for 185 performances and the play was awarded the Pulitzer Prize and the New York Drama Critics' Circle Award.
Without reliance upon the defeated past, the techno-optimist looks toward the new things that we make up to run the world, and these new things could fail. Their failure could destroy us utterly. In another direction lies the way of retreat into nostalgia, or to express it more positively a reliance on tradition. Here hope takes the form of dogmas and imagery from a past epoch in which culture was, at least from a present perspective, organized and meaningful. This stance is generally less attractive to Americans than is the futurist one, but the nostalgist option does harmonize with other parts of the American myth, as is demonstrated in its adherents' use of such language as ''the American way of life," "traditional values," "plain 51 52 common sense," and other patriotic and agrarian expressions.
The American Stage and the Great Depression: A Cultural History of the Grotesque by Mark Fearnow
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