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• W1517973389 abstract "Reviewed by: Playwright Versus Director: Authorial Intentions an Performance Interpretations, and: Making Plays: The Writer-Director Relationship in the Theatre Today Dennis J. Reardon Playwright Versus Director: Authorial Intentions And Performance Interpretations. Edited by Jeane Luere. Contributions in Drama and Theatre Studies, Number 54. Westport, Connecticut: Greenwood Press, 1994; pp. 179. $55.00 cloth. Making Plays: The Writer-Director Relationship In The Theatre Today. Richard Nelson and David Jones. Edited by Colin Chambers. London: Faber and Faber, 1995; pp. 165. $11.95 paper. Richard Nelson calls the playwright-director relationship “a defining feature of twentieth-century theatre” (xiv). If so, the relationship may be best defined by its contentiousness. Who controls the text? Who ultimately is in charge of meaning? The practical working out of such theoretical questions is at the heart of these two books. Luere focuses on the adversarial, Nelson and Jones on the collaborative. Playwright Versus Director is a rather odd compendium that employs a variety of failed strategies. Luere’s various borrowings justify in part her designation as editor, but enough of her own writing exists to make a claim of authorship had she so wished. This author/editor ambiguity is emblematic of the absence of focus in her project. She breaks her subject into four parts: “Theories of Authorship and Interpretation”; “Remarks of Playwrights and Directors”; “Tiers of Director/Playwright Interchange (Five Case Studies)”; and “Theatre Aesthetics and the Law.” Part 1—“Theories”— is a nine-page primer recapitulating essays by Roland Barthes, Michel Foucault, Gerald Rabkin, Alvin Kernan, and several other commentators upon issues of textuality. The section seeks to locate specific theatrical concerns within the larger literary imbroglios sparked by the writings of radical linguists and reception theorists. It serves its purpose well enough but it has the unfortunate side-effect of suggesting to us that Rabkin’s eighteen-page article from 1985 in Performing Arts Journal (“Is There a Text On This Stage?”) obviates Luere’s entire book. Part 2 (“Remarks of Playwrights and Directors”) is a melange of transcripts, letters, and previously published interviews, which is only of intermittent interest. Part 3 purports to be a set of case studies. These are focused on, in turn, Williams and Kazan, Williams and Olivier regarding Streetcar, Inge and Joshua Logan on Picnic, Arthur Miller’s relationship with Kazan and contretemps with Elizabeth LeCompte with passing reference to Jed Harris, Albee directing Beckett’s Ohio Impromptu, and an homage to Caryl Churchill doing Caryl Churchill. Where the book does not provide merely old news, it is wildly speculative. The attempted linkages of Kazan with LeCompte are thoroughly misconceived. Even the editing can best be described as absent-minded. While a number of volumes devoted to actor/director relationships have been written, very little has been said about that most-fraught of theatrical interfaces between playwright and director. Whereas Luere comes to the subject as an outside observer, Richard Nelson and David Jones are the ultimate insiders. Nelson may at this moment be the most famous American playwright in England. At this writing there have been nine plays in all, seven of them under the auspices of the Royal Shakespeare Company, most recently, The General from America. Four of Nelson’s original stage works have been directed by Jones. He is the pre-eminent English-speaking director of Maxim Gorky’s plays and has also worked with playwrights such as Harold Pinter and David Mercer. Making Plays lets us listen in on a series of intelligent, articulate, and occasionally passionate conversations between these two highly-skilled theatre practitioners. What they talk about and the way they talk about it has positive ramifications for everyone who teaches directing or playwriting, especially on the graduate level. Making Plays is nothing more or less than a book of etiquette, though no doubt its authors would be astonished to hear it so designated. Its discussions are emblematic, suggesting forms of behavior appropriate to workers in the rarefied vineyards of the theatre. In this one sense, Making Plays bears a lineal kinship with Castiglione’s Book of the Courtier. More to the point in the context of our present discussion, it is a mediating text between professions historically viewed as..." @default.
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• W1517973389 title "Book Review: Playwright Versus Director: Authorial Intentions and Performance Interpretations, and: Making Plays: The Writer-Director Relationship in the Theatre Today" @default.
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