Dumbocracy in America: Studies in the Theatre of Guilt, 1987-1994

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Overview

No theatre critic in America is more informed by ideas than Robert Brustein, and no critic does a better job of relating theatre to the larger culture. In this new collection of essays, reviews, and profiles (some of them appearing here for the first time), Mr. Brustein uses the prism of the American theatre to explore the motivating impulses behind rampant political correctness. "Art and politics belong in separate compartments," he writes. "Creative activity is almost invariably diminished when it is politicized." He laments the prevailing belief that the critical function of drama is to arouse the guilt of its audience; he abhors the efforts of multiculturalists to discredit other groups in order to validate their own
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Overview

No theatre critic in America is more informed by ideas than Robert Brustein, and no critic does a better job of relating theatre to the larger culture. In this new collection of essays, reviews, and profiles (some of them appearing here for the first time), Mr. Brustein uses the prism of the American theatre to explore the motivating impulses behind rampant political correctness. "Art and politics belong in separate compartments," he writes. "Creative activity is almost invariably diminished when it is politicized." He laments the prevailing belief that the critical function of drama is to arouse the guilt of its audience; he abhors the efforts of multiculturalists to discredit other groups in order to validate their own existence. Ranging widely over the American cultural landscape, Mr. Brustein considers government efforts to regulate the arts; the rosy retrospectives of American radicalism; and the undue influence of the New York Times, and offers his intelligent and clear-eyed assessments of the theatre's productions and people that have been notable—and sometimes notorious—over recent years. As always, he is both a pleasure to read and a cultural education.

Editorial Reviews

Publishers Weekly
Other drama critics have opinions; Brustein has a point of view about the theater. Readers of his reviews in the New Republic, from which most of this collection is drawn, and of such books as Reimagining American Theatre know that he prefers the classics and challenging, avant-garde productions to the realistic, generally domestic American drama he terms ``the theatre of guilt,'' and that he is a vehement defender of high art against what he sees as the encroachments of popular culture, political correctness and multiculturalism. These basic tenets are laid out in the book's first section, ``Positions,'' which has a slightly hysterical tone (most notably in the title essay) that may well alienate those not in perfect agreement with Brustein's unabashedly elitist position. The reviews collected in ``Performances,'' however, reveal that whatever one thinks of his premises, the mere fact that Brustein has a coherent set of ideas about what theater should be makes him a passionate and perceptive critic. Recent plays like George C. Wolfe's Jelly's Last Jam and Edward Albee's Three Tall Women come to life in his vivid descriptions, and he is open-minded enough to see merit in works like Tony Kushner's Angels in America, with whose political stance he is not in sympathy. The closing section, ``Profiles,'' highlights his less combative side in portraits of people he admires, including Joe Papp and Lionel Trilling. All the essays, good and bad, are never less than provocative and interesting. (Oct.)
Library Journal
In this eloquent and thought-provoking collection of essays, reviews, and profiles, Brustein (Reimagining American Theatre, LJ 6/15/91) focuses on the theater as a mirror of American culture in the 1980s and 1990s. As the founder and artistic director of the American Repertory Theatre at Harvard University, former dean of the Yale School of Drama, and theater critic for the New Republic, the author occupies a highly respected spot in the theater world. His overriding concern is that the contemporary theater has become so cause-oriented and politically correct that its chief function is to arouse the guilt of the audience. He believes, furthermore, that creativity is diminished as a result of this conformity to social agendas. Brustein also tackles government involvement in the arts and the influence of the New York Times. A worthwhile addition to theater arts collections.-Howard E. Miller, Blue Cross & Blue Shield of Missouri Lib., St. Louis

Product Details

  • ISBN-13: 9781566630986
  • Publisher: Ivan R Dee
  • Publication date: 8/28/1995
  • Pages: 287
  • Product dimensions: 5.66 (w) x 8.80 (h) x 0.77 (d)

Meet the Author

Robert Brustein, theatre critic for the New Republic and is the author of Cultural Calisthenics, Reimagining American Theatre, The Theatre of Revolt, and The Siege of the Arts. He is also founder and artistic director of the American Repertory Theatre at Harvard University.

Table of Contents

Acknowledgments
Introduction 3
Positions
The Theatre of Guilt 9
The Options of Multiculturalism 18
The War on the Arts, I 26
The War on the Arts, II 34
Greenwich Village Follies 41
An Embarrassment of Riches 54
Dumbocracy in America 62
Performances
Cold Hearts: Les Liaisons Dangereuses 75
Birds and Beasts of the West: Serious Money 79
Twenty-first Century Hamlet: Hamlet 82
Dressup Plays: The Substance of Fire; Our Country's Good 87
In the Belly of "La Bete": La Bete; Assassins 92
Emerging British Directors: The Liar; The Love of Three Oranges; The Good Person of Sichuan 97
Public and Private History: Henry IV 102
More Yuppie Realism: Lips Together, Teeth Apart 106
Terror in the Bedroom: Othello 110
The Schlepic, Part II: Escape from Saigon: Miss Saigon 115
The Dreaming of the Bones: The Shadow of a Gunman; Dancing at Lughnasa 119
Melting the Concrete: Murmuring Judges; The Sea; The Resistible Rise of Arturo Ui; The Madness of George III 123
Opinions, Opinions: Four Baboons Adoring the Sun; Death of the Maiden; 'Tis Pity She's a Whore 128
What Do Women Playwrights Want? Laurie Anderson; The Baltimore Waltz; The Death of the Last Black Man in the Whole Entire World 134
'Cause Jelly Don't Shake Like That: Jelly's Last Jam; Guys and Dolls 139
Awards Versus Achievements: The 1992 Tony Awards; Fires in the Mirror 143
Wilson Lights Stein's Lights: Doctor Faustus Lights the Lights; Richard III 148
The Theatre of Pain: Les Atrides 153
The Editorial Play: The Destiny of Me; The Sisters Rosensweig; Spic-O-Rama; Danton's Death 158
Nothing to Declare: An Inspector Calls; Carousel; The Deep Blue Sea; The Rise and Fall of Little Voice 164
Akalaitis Axed: Wings 170
Angles in America: Angels in America 175
The Great Work Falters: Perestroika 182
Return of the Master: Peer Gynt; Madame de Sade 185
Diversity and Unity: I Am a Man; Marisol 190
Hillbilly Blues: The Kentucky Cycle 195
A Theatre Marking Time: Medea; Tamburlaine; The Tempest; King Lear 199
The Rehabilitation of Edward Albee: Three Tall Women; The Family Business 204
PC - or Not PC: Twilight: Los Angeles 1992; Politically InCorrect 209
Profiles
Strindberg to the Life 219
Legitimizing Kenneth Tynan 225
Vaclav Havel Disturbs the Peace 231
Gielgud and Olivier 235
Memories of Joe Papp 239
The Clarence Thomas - Anita Hill Hearings: Caricatures in Search of an Author 245
Harold Clurman and the Group 251
Lionel Trilling: Memories of an Intellectual Father 255
Postscript 261
Index 262

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