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The Group Theatre

Part of the Palgrave Studies in Theatre and Performance History Book Series

Editors: Wilmeth, Don B; Barranger, Milly S

DOI: 10.1057/9781137294609

ISBN: 978-1-349-45152-4

Publisher: Palgrave Macmillan US - Springer Journals

Jan 1, 2013

1 - 10 of 16 Chapters

LitStream

Introduction: A Cautionary Tale

Chinoy, Helen Krich

Pages: 1 –9

[With Elia Kazan and Robert (“Bobby”) Lewis looking on, Harold Clurman quietly locked the door of the Group Theatre’s office in New York’s Sardi Building on Forty-fourth Street for the last time. On this grim day in the spring of 1941, they wondered if anybody cared. The hopes, aspirations, and...
LitStream

The Chosen Ones

Chinoy, Helen Krich

Pages: 13 –31

[On a rainy June 8, 1931, they packed wives, children, friends, Victrolas, and radios into a caravan of cars, and squeezed rotund Bobby Lewis and his cello into the rumble seat of Margaret (nicknamed “Beany”) Barker’s car. They were the Chosen Ones: the 27 young professional actors that Harold...
LitStream

Summertime and the Living Is Collective

Chinoy, Helen Krich

Pages: 33 –50

[Brookfield Center is still a delightful, green, and hilly retreat a little over an hour from New York, but in 1931, for the Chosen Ones, it was the place where dreams would come true. Their first summer together was a kind of mystic experience they could not wholly communicate. Ruth Nelson...
LitStream

Early Rehearsals

Chinoy, Helen Krich

Pages: 53 –63

[Brookfield stands apart. It was the Group moment. During the rest of the decade as the company was forced to jump-start itself again and again, the first summer survived as their ideal alternative community, an American utopia. Their collective experience had given new meaning to what it was to...
LitStream

Early Classes

Chinoy, Helen Krich

Pages: 65 –79

[W hile John Howard Lawson’s play was being revised when they arrived at Dover Furnace in upstate New York in 1932, Strasberg devoted his full attention to classes for the actors. At Brookfield, where the training had been done mainly during rehearsals rather than in separate classes, his...
LitStream

Lee Strasberg: Artist of the Theater

Chinoy, Helen Krich

Pages: 81 –94

[The real “success story” for Strasberg came a year after the tepid reception of Success Story. On September 26, 1933, Sidney Kingsley’s Men in White opened to rave reviews and excellent business at the box office. In the interim the Group had passed through what Clurman called the “Winter of our...
LitStream

Strasberg versus Adler

Chinoy, Helen Krich

Pages: 95 –112

[On the day Lee Strasberg died, February 17, 1982, Stella Adler asked actors in her class at the Stella Adler Studio to stand for a moment of silence. After the stunned quiet, so the gossip goes, she said, “It will take the theatre decades to recover from the damage that Lee Strasberg inflicted...
LitStream

Testing the Theatrical

Chinoy, Helen Krich

Pages: 113 –128

[Lee Strasberg’s disappointment in the Moscow Art Theatre and his reluctance to seek out Stanislavsky during his summer visit in 1934 by no means extended to Stanislavsky’s most famous students, Vsevolod Meyerhold and Eugene Vakhtangov, and their theaters. Strasberg had admired the theories and...
LitStream

Harold Clurman: Author of the Stage Production

Chinoy, Helen Krich

Pages: 129 –145

[“I was a late developer,” Harold Clurman remembered his friend Aaron Copland saying of him. The retiring young man who went off to Paris with the studious composer in 1921 was a precocious but timid doctor’s son from the Lower East Side. He was so shy with strangers that he trembled when he...
LitStream

Odets in Clurman’s Theater

Chinoy, Helen Krich

Pages: 147 –164

[Harold Clurman initiated an even closer collaboration with Clifford Odets when the Group came to life again in the fall of 1937. His accomplishments as a director were totally tied to the playwright he had nurtured, who, in turn, confessed that he remained with the Group because of his friend’s...

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