Spring 1958 • Vol. XX No. 2 NonfictionApril 1, 1958 |

Theatre Letter II

A few years ago Walter Kerr expounded the view that the dramatist's concern with speaking out was the curse of the modern theatre; he contends that Ibsen and his heirs have sent audiences screaming from the playhouses. If it is the curse of the theatre, it is equally the curse of the age. All writers have explicit designs on us, novelists and poets no less than playwrights. But the playwrights seem to be more vocal because their characters speak in the living voice to an audience in immediate attendance. And the response is, in another sense, immediate. In the lobby at Death of a Salesman, a playgoer remarked, "I always said that New England territory was no damned good," but comments on plays need not be postponed till the audience reaches the lobby. Novelists and poets have to wait longer for responses to their work. The stage's capacity for becoming a platform has been particularly in evidence this season. In one play, Molly Kazan's The Egghead, a platform was boldly set up o

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Theatre Letter

By Henry Popkin

A few years ago Walter Kerr expounded the view that the dramatist's concern with speaking out was the curse of the modern theatre; he contends that Ibsen and his heirs […]

Theatre Letter

By Henry Popkin

A few years ago Walter Kerr expounded the view that the dramatist's concern with speaking out was the curse of the modern theatre; he contends that Ibsen and his heirs […]

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