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[Interviews with Arthur Miller and Garson Kanin]

Autor: Garson Kanin; Arthur Miller; Edwin Wilson; City University of New York.
Editora: New York, 1989.
Séries: CUNY Spotlight
Edição/Formato   Vídeo em VHS : Fita VHS   Material visual : Inglês
Base de Dados:WorldCat
Resumo:
Four separate interviews, two with Arthur Miller and two with Garson Kanin.
Classificação:

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Detalhes

Gênero/Forma: Interviews
Sources
Pessoa Denominada: Garson Kanin; Arthur Miller; Arthur Miller; Arthur Miller; George Abbott; Judy Holliday; Garson Kanin
Tipo de Material: Gravação de vídeo
Tipo de Documento: Material visual
Todos os Autores / Contribuintes: Garson Kanin; Arthur Miller; Edwin Wilson; City University of New York.
Número OCLC: 52078069
Notas: Part of the series, CUNY Spotlight, broadcast on CUNY-TV, sponsored by the City University of New York.
Executor(es): Interviewed by Edwin Wilson.
Notas de produção: Videotaped by the cable station, CUNY-TV, New York, N.Y.
Descrição: 1 videocassette (VHS) (112 min.) : sd., col. ; 1/2 in.
Título da Série: CUNY Spotlight
Responsabilidade: City University Television, the Center for Advanced Study in Theatre Arts (CASTA) [present].

Resumo:

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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