By Arvid F. Sponberg
This can be the 1st full-length learn dedicated to the artwork of A.R. Gurney, a massive modern American playwright who has written over thirty performs, together with Love Letters. This quantity brings jointly unique interviews with Gurney and 4 actors and a director who've labored heavily with him, in addition to essays by means of major theater students at the variety of Gurney's paintings.
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Extra resources for A.R. Gurney
It got nailed. GURNEY 23 AFS: It got hit pretty hard. And the regional theaters haven’t picked it up they way they have picked up Cocktail Hour and Love Letters. GURNEY: They haven’t at all. Amazing. AFS: What was the nature of the quest for form there to lead you to split Sue in two and Jake in two? What was going on? GURNEY: It’s partly a psychological exploration. I wanted to tell the Phedre plot, really. And I wanted to tell the story deftly, quickly. And I didn’t want to get caught in soap opera.
5 . Gurney also could have cited Professor Carroway in The Love Course, from 1969, who teaches literature. Lois in The Perfect Party is a newspaper critic. Portia in Overtime is an attorney and Kate in Sylvia is a teacher. In all four plays, the occupation is integral to the characterization and motivates the action. SPONBERG AFS: How old were you when a career in the theater became a serious idea for you? CUNNINGHAM: At first it was a kind of sensual awareness of the beauty of the English language.
167). This is not to say that, under different circumstances, Gurney would have chosen dual careers. The success of his plays in the 1960s and 1970s did not yield enough income for him to give up a professorship of humanities at MIT, especially with four children to help rear and educate. Acclaim for The Dining Room in the early 1980s brought the opportunity to devote full attention to the theater and Gurney took it. The unusual circumstances of Wilder’s, Inge’s and Gurney’s careers, however, prompt questions about the relation of theatrical achievement and university training in the twentieth century, a period of our theatrical history in which most universities established theater schools and departments.