Mr George Jean Nathan Presents George Jean Nathan 9781142073398 Books
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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Mr George Jean Nathan Presents George Jean Nathan 9781142073398 Books
George Jean Nathan (1882-1958) was born in Fort Wayne, IN, to Jewish parents (which fact he suppressed during his career), attended Cornell University, and in New York established himself as a major theater critic (1905 and onward). In the 1920s he gave much support to Eugene O'Neill.His first book was the present volume, published 1917, and comprises photocopies of those pages, with big worn type. As of now, this book is JUNK, reflecting the formularized farces and melodramas of a dozen years, a belabored writing style, a sophomoric pretense at erudition and sarcasm. Nathan spouts names and play titles long gone to dust. If in this period extending into WWI, Broadway offered any Continental or English classics or literary milestones, to test his worth as a critic, such does not appear here. His central concept was that he disliked what he disliked--the audience were yokels, the playwrights were ridiculously dull, the managers/producers without a clue. (Hopefully, in the 1920s Nathan rises, along with the whole American drama scene, to something of value. I'll give him another chance.)
P.S. There are 7 pages on "The Black Art" where Nathan means to compliment an all-black troupe doing "Othello" at the York Theatre. To make a white Desdemona, makeup is used, which he certainly condones even if many others don't. In sarcastically chastising these white contemptors, Nathan spits out some of the terms so verboten today. He even likes the ethnic actors' diction effect, in contrast to the usual hard-edged Anglo-Saxon delivery. Nathan concludes, "Let me therefore recommend that you visit the theatre when this Wright troupe of black Shakespeareans comes your way, i.e., if it doesn't happen to be a warm day." (In Elizabethan costumes, do black actors sweat more than white actors!)
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Mr George Jean Nathan Presents George Jean Nathan 9781142073398 Books Reviews
This was a fun frolic of a book for me. In "The Black Art" chapter, I don't think Nathan was trying to compliment the all-black troupe or to chastise white contemptors; he was simply trying to express his response to seeing Shakespeare performed by a black troupe. Part of his response was an appreciation of the strangeness and freshness of the black performers compared to cliched or otherwise "bad" white performances. Nathan's focus is writing about the American drama scene rather than reviewing its greatest milestones. I don't know why he should be expected to chronicle and review the great milestones if that is not the purpose of his book.
George Jean Nathan (1882-1958) was born in Fort Wayne, IN, to Jewish parents (which fact he suppressed during his career), attended Cornell University, and in New York established himself as a major theater critic (1905 and onward). In the 1920s he gave much support to Eugene O'Neill.
His first book was the present volume, published 1917, and comprises photocopies of those pages, with big worn type. As of now, this book is JUNK, reflecting the formularized farces and melodramas of a dozen years, a belabored writing style, a sophomoric pretense at erudition and sarcasm. Nathan spouts names and play titles long gone to dust. If in this period extending into WWI, Broadway offered any Continental or English classics or literary milestones, to test his worth as a critic, such does not appear here. His central concept was that he disliked what he disliked--the audience were yokels, the playwrights were ridiculously dull, the managers/producers without a clue. (Hopefully, in the 1920s Nathan rises, along with the whole American drama scene, to something of value. I'll give him another chance.)
P.S. There are 7 pages on "The Black Art" where Nathan means to compliment an all-black troupe doing "Othello" at the York Theatre. To make a white Desdemona, makeup is used, which he certainly condones even if many others don't. In sarcastically chastising these white contemptors, Nathan spits out some of the terms so verboten today. He even likes the ethnic actors' diction effect, in contrast to the usual hard-edged Anglo-Saxon delivery. Nathan concludes, "Let me therefore recommend that you visit the theatre when this Wright troupe of black Shakespeareans comes your way, i.e., if it doesn't happen to be a warm day." (In Elizabethan costumes, do black actors sweat more than white actors!)
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