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The Fervent Years: The Group Theatre And The Thirties (A Da Capo paperback), by Harold Clurman
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From the Back Cover
The Group Theatre was perhaps the most significant experiment in the history of American theatre. Harold Clurman, founder of the Group Theatre and dynamic force as producer-director-critic for fifty years, here recreates history.
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About the Author
Harold Clurman was the author of Lies Like Truth, The Naked Image, On Directing, The Divine Pastime, and All People Are Famous, and was the editor of numerous theater anthologies.
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Product details
Series: A Da Capo paperback
Paperback: 352 pages
Publisher: Da Capo Press (March 22, 1983)
Language: English
ISBN-10: 9780306801860
ISBN-13: 978-0306801860
ASIN: 0306801868
Product Dimensions:
5.6 x 0.9 x 8.6 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.1 out of 5 stars
17 customer reviews
Amazon Best Sellers Rank:
#315,214 in Books (See Top 100 in Books)
The Group Theatre, modeled off of the equally influencial Moscow Art Theatre, was an artistic organization that completely and drastically revolutionized not only American Theatre, but World Theatre as well.Formed in the 1930's and comprised of what has become a literal who's who of Theatre: Clifford Odets, Elia Kazan, Harold Clurman, Robert Lewis, Stella Adler, Lee Strasberg, Cheryl Crawford, John Garfield, Sanford Meisner and many others, The Group Theatre sought to create a vibrant and organic native theatre that sought to not only mirror the times but also instigate radical social change.At no other time in American history has an artistic group been comprised of so many talented individuals focused on one aesthetic and political goal. Despite one's political leanings (make no mistake, The Group Theatre were extreme leftest liberals), The Fervent Years provides and endless and bountiful amount of inspiration and stimulation for any theatre artist.Clurman writes in a fine dramatic style that boils with passion, wit and insight. The Fervent Years is required reading for all devotees of The Theatre. But don't let that scare you, it is a most entertaining read at the same time.
This book is a beautiful account of the struggles and events surrounding Harold Clurman during his time with the Group Theater. Harold starts off by revealing how his life brought him to establish the Group along with Lee Strasberg and Cheryl Crawford. It then continues and describes the significant struggles and events encountered by the Group and its members along with some beautiful and extremely important observations Harold made, not only regarding the theater community and its participants, but also about our society in general and its effect on art in general.This book is an absolute must for any serious actor or director. For that matter, anyone serious about life would gain from reading this book. The Group Theater was a wonderful "experiment" fostered by some very passionate people who not only helped to shape theater in America, but they also played a significant role in laying the groundwork from which some of the best acting and directing has emerged as seen in films and theater since that time.I won't give anything away for the sake of would-be readers, but generally speaking, one of the great things I took away from this book relates to a character arc that he, Harold Clurman, went through in relation to experiences he had early on where he did not yet fully understand why some negative theater reviews upset him. Over time, he elucidates how he came to understand his emotions had intellectual justification. It's great, because you see a man with enough wisdom to observe his emotions of being upset, yet he gives himself time to understand the logical meaning of those same emotions, justified or not. It's almost as if he's willing to give himself time to check his own reality. The side irony (or perhaps not so ironic) is that I observed a connection between what he eventually realizes in that one aspect of his life when compared to greater troubles of that era. This is all only one nugget of the book, but it was the most meaningful to me.
Excellent!
“In the books I read, in the painting I see, in the music I hear, in all conversations, I am aware of the presence of the world itself, I detect a feeling for large issues of human concern. In the theatre these are either absent or diluted, frequently cheapened. Where is the best thought of our time in the theatre, the feeling of some personal significance in any of its works? Either there is something inferior in the theatre per se or there is something wrong about the practical theatre of today that escapes me. I can’t live without the theatre, but I can’t live with it. The theatre gives itself lofty graces, claims a noble lineage, but has no more dimension than a bordello!â€That’s Harold Clurman in the 1920’s and it’s what he and The Group Theatre sought to change. They were not alone, others sought the same, all failed as often as they succeeded, but their failures just as much as their successes laid the foundation for the theatre of today.
A classic.
A great book about a proud period in American culture.
This book is one of the single most inspiring pieces of writing I have ever read. For actors, directors, designers, technicians, and playgoers, as well as historians, this book is a must-read.In Clurman's wonderfully bombastic style, this is the first person account of one of the most exciting theatrical movements *ever*. It tells of the Group Theater, a movement which brought Stanislavsky's theories to American acting, and gave rise to the careers of playwright Clifford Odets & future filmmaker Elia Kazan, among others.The story is amazing, truly inspirational, for those of us who love theater. About halfway through the text, I stopped being mildly irritated by Clurman's egomanical asides and started loving them. They give character to what might be rather dry history.Besides, the man helped to shape the American aesthetic. I think we might give him a little leeway...I finished this book feeling inspired by people who want to make their lives into art. It's a very personal story, and the real love affair in the book is between Clurman and the theater. And it's a gorgeous love story indeed.(Additionally, this text is a great peek into the spirit that moved the 1930's. Really interesting from a cultural historian's perspective, I'm sure.)
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