A fascinating intermingling of philosophy and dramaturgy, both in the name of existential commitment. Though Sartre's fundamental concepts—liberty, situation, negation—are famous, their particular relevance to the plays he's been presenting since the Forties has always been cloudy. So it is good that a compilation of his theatrical reflections—mostly short essays, lectures, interviews—is now available. The knotty brilliance so formidable in Being and Nothingness or Saint Genet is absent, but the basic conflict is still the same: individual rights vs. "bourgeois morality." The bourgeois, of course, is the bugbear throughout, whether identified as fascism, materialism, capitalism, God, or Hugo, the "hero" of Dirty Hands, "a young bourgeois idealist who does not understand the imperatives of concrete action." With the staging of The Flies during the German occupation, Sartre sounded his general formula: immerse men in universal and extreme situations "which leave them only a couple of ways out, arrange things so that in choosing the way out they choose themselves, and you've won—the play is good." By the time of the Cold War, however, Sartre deserted metaphysical biases for political shibboleths, favoring a "people's theater" demystifying the hypocritical values of a class society and condemning "bourgeois theater"—including the dramas of Beckett and Ionesco which take for granted an unalterable "incommunicability" between men—as "reactionary." As can be seen, Sartre's arguments are not always coherent, but the book is important nevertheless.
Pub Date: May 1, 1976
ISBN: 0394492471
Page Count: 372
Publisher: Pantheon
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: May 1, 1976
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
