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Zoltán Szilassy - American theater of the 1960s

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From the perspective of a Hungarian scholar who has spent much time in the United States, Zolt?n Szilassy seeks through the dramaturgical kaleidoscope of the American l960s to locate what is permanent in some of the varied heritage of the period and to explore the whirlpool of innovations, many of which are nondramatic in origin or character. The book is divided into two parts, The Rebellious Drama and The Intermedia. The three chapters in Part 1 are Edward Albee: First among Equals, Varieties of the Albee Generation, and The Dramaturgical Kaleidoscope of the Sixties. Part 2 contains Happenings and New Performance Theories, The Regional Alternative Theater, and Conclusion, Outlook, and Reminiscences. Surveying the American dramatic scene, Szilassy concludes: The European observer may still hope that Americans will keep or rather develop the kind of theatrical equilibrium that duly made the sixties unforgettable both at home and abroad.

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title American Theater of the 1960s Crosscurrentsmodern Critiques Third - photo 1

title:American Theater of the 1960s Crosscurrents/modern Critiques. Third Series
author:Szilassy, Zoltn.
publisher:Southern Illinois University Press
isbn10 | asin:0809312271
print isbn13:9780809312276
ebook isbn13:9780585186610
language:English
subjectTheater--United States--History--20th century, Experimental theater--United States, American drama--20th century--History and criticism.
publication date:1986
lcc:PN2266.5.S95 1986eb
ddc:792/.0973
subject:Theater--United States--History--20th century, Experimental theater--United States, American drama--20th century--History and criticism.
Page ii
Crosscurrents/Modern Critiques Third Series
Edited by Jerome Klinkowitz
In Form: Digressions on the Act of Fiction
Ronald Sukenick
Literary Subversions: New American Fiction and the Practice of Criticism
Jerome Klinkowitz
The Fiction of William Gass: The Consolation of Language
Arthur M. Saltzman
Critical Angles: European Views of Contemporary American Literature
Marc Chnetier
Page iii
American Theater of the 1960s
Zoltn Szilassy
Southern Illinois University Press
CARBONDALE AND EDWARDSVILLE
Page iv
Copyright 1986 by the Board of Trustees, Southern Illinois University
All rights reserved
Printed in the United States of America
Edited by Susan H. Wilson
Designed by Design for Publishing, Inc.
Production supervised by Kathleen Giencke
89 88 87 4 3 2
Library of Congress Cataloging in Publication Data
Szilassy, Zoltn, 1947
American theater of the 1960s
(Crosscurrents/modern critiques. Third series)
Includes index.
1. TheaterUnited StatesHistory20th century.
2. Experimental theaterUnited States. 3. American
drama20th centuryHistory and criticism. I. Title.
II. Series.
PN2266.5.S95 1986 792'.0973 85-8405
ISBN 0-8093-1227-1
Page v
CONTENTS
Crosscurrents/Modern Critiques/Third Series Jerome Klinkowitz
vii
Preface
ix
Introduction
1
Part 1
The Rebellious Drama
1. Edward Albee: First Among Equals
11
2. Varieties of the Albee Generation
24
3. The Dramaturgical Kaleidoscope of the Sixties
45
Part 2
The Intermedia
4. Happenings and New Performance Theories
63
5. The Regional Alternative Theater
86
6. Conclusion, Outlook, and Reminiscences
92
Notes
101
Index
109

Page vii
CROSSCURRENTS/
MODERN CRITIQUES/
THIRD SERIES
In the early 1960s, when the Crosscurrents/Modern Critiques series was developed by Harry T. Moore, the contemporary period was still a controversial one for scholarship. Even today the elusive sense of the present dares critics to rise above mere impressionism and to approach their subject with the same rigors of discipline expected in more traditional areas of study. As the first two series of Crosscurrents books demonstrated, critiquing contemporary culture often means that the writer must be historian, philosopher, sociologist, and bibliographer as well as literary critic, for in many cases these essential preliminary tasks are yet undone.
To the challenges that faced the initial Crosscurrents project have been added those unique to the past two decades: the disruption of conventional techniques by the great surge in innovative writing in the American 1960s just when social and political conditions were being radically transformed, the new worldwide interest in the Magic Realism of South American novelists, the startling
Page viii
experiments of textual and aural poetry from Europe, the emergence of Third World authors, the rising cause of feminism in life and literature, and, most dramatically, the introduction of Continental theory into the previously staid world of Anglo-American literary scholarship. These transformations demand that many traditional treatments be rethought, and part of the new responsibility for Crosscurrents will be to provide such studies.
Contributions to Crosscurrents/Modern Critiques/Third Series will be distinguished by their fresh approaches to established topics and by their opening up of new territories for discourse. When a single author is studied, we hope to present the first book on his or her work, or to explore a previously untreated aspect based on new research. Writers who have been critiqued well elsewhere will be studied in comparison with lesser-known figures, sometimes from other cultures, in an effort to broaden our base of understanding. Critical and theoretical works by leading novelists, poets, and dramatists will have a home in Crosscurrents/Modern Critiques/Third Series, as will sampler-introductions to the best in new Americanist criticism written abroad.
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