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[Interviews with Arthur Miller and Garson Kanin]

Auteur : Garson Kanin; Arthur Miller; Edwin Wilson; City University of New York.
Éditeur : New York, 1989.
Collection : CUNY Spotlight
Édition/format :   Vidéo VHS : VHS tape   Matériel visuel : English
Base de données :WorldCat
Résumé :
Four separate interviews, two with Arthur Miller and two with Garson Kanin.
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Détails

Genre/forme : Interviews
Sources
Personne nommée : Garson Kanin; Arthur Miller; Arthur Miller; Arthur Miller; George Abbott; Judy Holliday; Garson Kanin
Type d’ouvrage : Videorecording
Format : Matériel visuel
Tous les auteurs / collaborateurs : Garson Kanin; Arthur Miller; Edwin Wilson; City University of New York.
Numéro OCLC : 52078069
Notes : Part of the series, CUNY Spotlight, broadcast on CUNY-TV, sponsored by the City University of New York.
Interprète(s) : Interviewed by Edwin Wilson.
Notes sur l’évènement : Videotaped by the cable station, CUNY-TV, New York, N.Y.
Description : 1 videocassette (VHS) (112 min.) : sound, color ; 1/2 in.
Titre de collection : CUNY Spotlight
Responsabilité : City University Television, the Center for Advanced Study in Theatre Arts (CASTA) [present].

Résumé :

Four separate interviews, two with Arthur Miller and two with Garson Kanin.

Arthur Miller talks about the process by which ideas come together for a play, his attempt to mimic in writing people's non-sequential thinking as in his play Death of a salesman which takes place in 24 hours but which shows past and present events concurrently, the need for conflict in a play, the decline of theater in New York City because of expensive real estate and good actors going to Hollywood, the need for subsidized theater in the United States, and how the personal conflicts of his characters reflect larger social conflicts.

Garson Kanin discusses his early career assisting George Abbott, his Hollywood work for Metro-Goldwyn Mayer and RKO Pictures, his writing and directing Born yesterday, the last-minute cast change of Judy Holliday in the play and movie, and his belief that young playwrights' best hope is in regional theater.

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