By Arvid F. Sponberg
This is often the 1st full-length learn dedicated to the artwork of A.R. Gurney, a massive modern American playwright who has written over thirty performs, together with Love Letters. This quantity brings jointly unique interviews with Gurney and 4 actors and a director who've labored heavily with him, in addition to essays by way of best theater students at the diversity of Gurney's paintings.
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Extra resources for A.R. Gurney
That in general would be my sense of the distinction. AFS: Do you think the general trend of situation comedies in American television over the last generation or two has tried to find ways of bringing reconciliation into the structure of that comedy form? GURNEY: Yes. I haven’t studied that as much. I didn’t teach much television, frankly. When I was teaching there at MIT, the technology of being able to show tapes in class was really not perfected yet. Occasionally I’d show an Archie Bunker or The Honeymooners.
That world seems to be moving somewhere, we don’t know where, and as they look at each other they even wonder whether they’re right for each other. GURNEY 19 normally get in the European comedy when there’s a kiss and then an embrace and then a comus and antic dance, or whatever it is you get from Shakespeare on through to Shaw and Wilde. That in general would be my sense of the distinction. AFS: Do you think the general trend of situation comedies in American television over the last generation or two has tried to find ways of bringing reconciliation into the structure of that comedy form?
He’s serious. Good man, Harper. AFS: Other than that, you don’t specify occupation too much. It doesn’t figure in the characterization, if you do specify. GURNEY: Roger [in The Fourth Wall] is a businessman. I think I do. Normally stockbrokers, lawyers. Richard Cory has a business. Yes, I don’t show many people in the workplace. That’s what I’m saying. Except for professors. That’s a workplace that I know pretty well. I don’t have many offices, with the possible exception of Richard Cory. I don’t have many scenes about men and work.