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АКУЛИЧ Людмила Давыдовна Лекция по дисциплине «КУЛЬТУРА СТРАНЫ ИЗУЧАЕМОГО ЯЗЫКА» Тема «ТЕАТР США» Для студентов специальностей 1-02 03 06-01 «Английский язык. Немецкий язык»; 1-02 03 06-03 «Английский язык. Французский язык»; 1-02 03 07-02 «Английский язык. Информатика» 1. 2. 3. 4. THE THEATRE IN THE USA Periods in the history of the theatre in the United States Broadway – the theatrical centre of the USA American musical theatre Notable contemporary American playwrights Theater of the United States is based in the Western tradition, mostly borrowed from the performance styles prevalent in Europe. Today, it is heavily interlaced with American literature, film, television, and music, and it is not uncommon for a single story to appear in all forms. Regions with significant music scenes often have strong theater and comedy traditions as well. Musical theater may be the most popular form: it is certainly the most colorful, and choreographed motions pioneered on stage have found their way onto movie and television screens. Broadway in New York City is generally considered the pinnacle of commercial U.S. theater, though this art form appears all across the country. Another city of particular note is Chicago, which boasts the most diverse and dynamic theater scene in the country. Regional or resident theatres in the United States are professional theatre companies outside of New York City that produce their own seasons. There is also community theatre and showcase theatre (performing arts group). Even tiny rural communities sometimes awe audiences with extravagant productions. Note: "theater" is the preferred spelling in the U.S., see spelling differences. 1) History Early history The birth of professional theater in America is usually thought to have begun with the Lewis Hallam troupe which arrived in Williamsburg, Virginia in 1752. However it is certain that theater existed in North America before that. A theater was built in Williamsburg in 1715, and in January 1736, the original Dock Street Theatre was opened in Charles Town, SC. Thomas Kean played the part of Richard III in New York City in 1750, and probably performed in Williamsburg shortly before the Hallams. (Amateur theater is recorded to have existed as early as 1665, when performers of a play were prosecuted in Accomack County, Virginia on charges of public wickedness.) In any case The Hallams were the first to organize a complete company of actors in Europe (London in this case) and bring them to the colonies. They brought a repertoire of the most popular plays from London, including Hamlet, The Recruiting Officer, and Richard III. The Merchant of Venice was their first performance, shown initially on September 15 1752. Encountering opposition from religious organisations, Hallam and his company left for Jamaica in 1754 or 1755. Soon after, Lewis Hallam's son, Lewis Hallam, Jr., founded the American Company which opened a theater in New York and presented the first professionally-mounted American play, The Prince of Parthia by Thomas Godfrey, in 1767. Throughout the 18th century there was widespread opposition to theatrical performances. In the puritanical climate of the time, especially in the North, the theater was considered a "highway to hell". Laws forbidding the performance of plays were passed in Massachusetts in 1750, in Pennsylvania in 1759, and in Rhode Island in 1761, and it was banned in most states during the American Revolutionary War at the urging of the Continental Congress. In 1794 President Timothy Dwight IV of Yale College in his "Essay on the Stage" declared that "to indulge a taste for playgoing means nothing more or less than the loss of that most valuable treasure: the immortal soul.". However it is likely that these ordinances were not strictly enforced, for we have records of performances in many cities during this time. In the early 19th century, theater became more common in the United States, and many celebrity actors from Europe toured the United States. There were even a few famous , such as Edwin Forrest and Charlotte Cushman. Many theater owners, such as William Dunlap and Thomas Abthorpe Cooper, similarly became well known throughout the young nation. The Walnut Street Theatre (or simply The Walnut) is the oldest continuously-operating theater in America, located in Philadelphia, Pennsylvania at 825 Walnut Street. The Walnut was built by The Circus of Pepin and Breschard, in 1809. Most cities only had a single theater. Productions were much more rudimentary then, and sometimes plays would be staged in barns or dining rooms when no theater was available. Provincial theaters frequently lacked heat and even minimal props and scenery. As the Westward Expansion of the country progressed, some entrepreneurs staged floating theaters on boats which would travel from town to town. Eventually, towns grew to the size that they could afford "long runs" of a production, and in 1841, a single play was shown in New York City for an unprecedented three weeks. Shakespeare was the most commonly performed playwright, along with other European authors. American playwrights of the period existed, but are mostly forgotten now. American plays of the period are mostly melodramas, often weaving in local themes or characters such as the heroic but ill-fated Indian. The most enduring melodrama of this period is Uncle Tom's Cabin, adapted by H. J. Conway from the novel by Harriet Beecher Stowe. A popular form of theater during this time was the minstrel show, arguably the first uniquely American style of performance. These shows featured white actors dressed in blackface and playing up racial stereotypes. These shows became the most watched theatrical form of the era. Throughout the 19th century, many preachers continued to warn against attending plays as being sinful. Theater was associated with hedonism and even violence, and actors especially female actors, were looked upon as little better than prostitutes. A serious rivalry between William Charles Macready and Edwin Forrest mirrored the sports rivalries of later years. The Astor Place Riot of 1849 in New York was sparked by this rivalry, and brought about the deaths of 22 people. Then, at the end of the United States Civil War, Abraham Lincoln was shot in Ford's Theater while watching a play. Burlesque became a popular form of entertainment in the middle of the 19th century. Originally a form of farce in which females in male roles mocked the politics and culture of the day, burlesque was condemned by opinion makers for its sexuality and outspokenness. The form was hounded off the "legitimate stage" and found itself relegated to saloons and barrooms. The female producers were replaced by their male counterparts, who toned down the politics and played up the sexuality, until the shows eventually became little more than pretty girls in skimpy clothing singing songs, while male comedians told raunchy jokes. The Civil War ended much of the prosperity of the South, and with it, its independent theaters. Only New Orleans was able to recover its theatrical tradition in the 19th century, if only partially. In the North, theater flourished as a post-war boom allowed longer and more frequest productions. The advent of railroads allowed actors to travel much more easily between towns, making theaters in small towns more feasible. By the late 19th century, there were thousands of cities and towns with at least a rudimentary theater for live productions. This trend also allowed larger and more elaborate sets to travel with players from city to city. The advent of electric lighting led to changes in styles, as more details could be seen by the audience. By the 1880s theaters on Broadway in New York City, and along 42nd Street, took on a flavor of their own, giving rise to new stage forms such as the Broadway musical (strongly influenced by the feelings of immigrants coming to New York with great hope and ambition, many of whom went into the theater). New York became the organizing center for theater throughout the U.S. In 1896, Charles Frohman, Al Hayman, Abe Erlanger, Mark Klaw, Samuel F. Nixon, and Fred Zimmerman formed the Theatrical Syndicate. Their organization established systemized booking networks throughout the United States and created a monopoly that controlled every aspect of contracts and bookings until the late 1910s when the Shubert brothers broke their stranglehold on the industry. The 20th century Vaudeville was common in the late 19th and early 20th century, and is notable for heavily influencing early film, radio, and television productions in the country. (This was born from an earlier American practice of having singers and novelty acts perform between acts in a standard play.) George Burns was a very long-lived American comedian who started out in the vaudeville community, but went on to enjoy a career running until the 1990s. Some vaudeville theaters built between about 1900 and 1920 managed to survive as well, though many went through periods of alternate use, most often as movie theaters until the second half of the century saw many urban populations decline and multiplexes built in the suburbs. Since that time, a number have been restored to original or nearly-original condition and attract new audiences nearly one hundred years later. By the beginning of the 20th century, legitimate (non-vaudville) theater had become decidedly more sophisticated in the United States, as it had in Europe. The stars of this era, such as Ethel Barrymore and John Drew, were often seen as even more important than the show itself. The advance of motion pictures also led to many changes in theater. The popularity of musicals may have been due in part to the fact the early films had no sound, and could thus not compete, until The Jazz Singer of 1927, which combined both talking and music in a moving picture. More complex and sophisticated dramas bloomed in this time period, and acting styles became more subdued. Even by 1915, actors were being lured away from theater and to the silver screen, and vaudeville was beginning to face stiff competition. While revues consisting of mostly unconnected songs, sketches, comedy routines, and scantily-glad dancing girls dominated for the first 20 years of the 20th century, musical theater would eventually develop beyond this. One of the first major steps was Show Boat, with music by Jerome Kern and lyrics by Oscar Hammerstein. It featured songs and nonmusical scenes which were integrated to develop the show's plot. The next great step forward was Oklahoma!, with lyrics by Hammerstein and music by Richard Rodgers. Its "dream ballets" used dance to carry forward the plot and develop the characters. Amateur performing groups have always had a place along side professional acting companies. The Winneshiek Players, an amateur theater group in Freeport, IL, first organized in 1916. After a few years of sporadic performances at various venues, the group reorganized in 1926. The group has been in continuous operation since that time, making them the oldest continuously operating theater group in the United States. Detailed history of the Winneshiek Players can be found in the 1970 edition of History of Stephenson County. Records of all productions are maintained in the archives of the Winneshiek Players. The massive social change that went on during the Great Depression also had an effect on theater in the United States. Plays took on social roles, identifying with immigrants and the unemployed. The Federal Theatre Project, a New Deal program set up by Franklin D. Roosevelt, helped to promote theater and provide jobs for actors. The program staged many elaborate and controversial plays such as It Can't Happen Here by Sinclair Lewis and The Cradle Will Rock by Marc Blitzstein. By contrast, the legendary producer Brock Pemberton (founder of the Tony Awards) was among those who felt that it was more than ever a time for comic entertainement, in order to provide an escape from the prevailing harsh social conditions: typical of his productions was Lawrence Riley's comedy Personal Appearance (1934), whose success on Broadway (501 performances) vindicated Pemberton. After World War II, American theater came into its own. Several American playwrights, such as Arthur Miller and Tennessee Williams, became world-renowned. In the Sixties, experimentation in the Arts spread into theater as well, with plays such as Hair including nudity and drug culture references. Musicals remained popular as well, and musicals such as West Side Story and A Chorus Line broke previous records. In the late 1990s and 2000s, American theatre began to borrow from cinematic and operatic roots. For instance, Julie Taymor, director of The Lion King directed Die Zauberflote at the Metropolitan Opera. Also, Broadway musicals were developed around Disney's Mary Poppins, Tarzan, The Little Mermaid, and the one that started it all, Beauty and the Beast, which may have contributed to Times Square's revitalization in the 1990s. Also, Mel Brooks's The Producers and Young Frankenstein are based on his hit films. American theater today Earlier styles of theater such as minstrel shows and Vaudeville acts have disappeared from the landscape, but theater remains a popular American art form. Broadway productions still entertain millions of theatergoers as productions have become more elaborate and expensive. Notable contemporary American playwrights include Edward Albee, August Wilson, Tony Kushner, David Henry Hwang, and Wendy Wasserstein. Smaller urban theaters have stayed a source of innovation, and regional theaters remain an important part of theater life. Drama is also taught in high schools and colleges, which was not done in previous eras, and many become interested in theater through this. 2) Broadway theatre is commonly called simply Broadway, are theatrical performances presented in one of the 40 professional theatres with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in the Manhattan borough of New York City. Along with London's West End theatres, Broadway theatres are widely considered to represent the highest level of commercial theatre in the English-speaking world.The Broadway Theater District is a popular tourist attraction in New York City.In the early years of the 20th century, translations of popular late-19th century continental operettas were joined by the "Princess Theatre" shows of the 1910s by writers such as P. G. Wodehouse, Guy Bolton and Harry B. Smith. Victor Herbert, whose work included some intimate musical plays with modern settings as well as his string of famous operettas (The Fortune Teller (1898), Babes in Toyland (1903), Mlle. Modiste (1905), The Red Mill (1906), and Naughty Marietta (1910)).Beginning with The Red Mill, Broadway shows installed electric signs outside the theatres. Since colored bulbs burned out too quickly, white lights were used, and Broadway was nicknamed "The Great White Way". In August 1919, the Actors Equity Association demanded a standard contract for all professional productions. After a strike shut down all the theatres, the producers were forced to agree. By the 1920s, the Shubert Brothers had risen to take over the majority of the theatres from the Erlanger syndicate.During this time, the play Lightnin' became the first Broadway show to reach 700 performances. From then, it would go on to become the first show to reach 1,000 performances. Lightnin' was the longest-running Broadway show until being overtaken in performance totals by Abie's Irish Rose in 1925. The Center Theatre was a theater located at 1230 Sixth Avenue, the southeast corner of West 49th Street in Rockefeller Center in New York City. Seating 3500, it was originally designed as a movie palace in 1932 and later achieved fame as a showcase for live musical ice-skating spectacles. It was demolished in 1954, the only building in the original Rockefeller Center complex to have been torn down. The Center Theatre was originally called the RKO Roxy Theatre and opened December 29, 1932 with the RKO film The Animal Kingdom and a live stage show. It was intended as a smaller sister to the 6,000 seat Radio City Music Hall one block away, which at first did not show films. The Center Theatre featured an elegant Art Deco design which was muted by comparison to the lavish Radio City Music Hall. The architect was Edward Durrell Stone and decor was by Eugene Schoen. The spare but striking design featured curved walls paneled in mahogany. The large stage contained hydraulic lifts as did the orchestra pit. Looking for a way to make the Center Theatre profitable, Rockefeller Center, inspired by the theatrical success of figureskating champion Sonja Henie, converted it into a theater expressly designed for the presentation of musical ice shows. As an ice theater, the Center Theatre reopened on October 10, 1940 with the presentation of Sonja Henie's production, In 1950, after the novelty of ice shows waned, the Center was leased by NBC and became a venue for live television broadcasts. Many early programs, including The Voice of Firestone and Your Show of Shows, were broadcast from the Center.After only 21 years the Center Theatre was demolished in 1954 and replaced with a 19 story office building, an addition to the United States Rubber Company Building. The Center Theatre had never been able to become a consistently profitable venture for Rockefeller Center. An Off-Broadway theatre is a professional venue in New York City with a seating capacity between 100 and 499. These theatres are smaller than Broadway theatres.An "Off-Broadway production" is a production of a play, musical or revue that appears in such a venue, and which adheres to related trade union and other contracts.Originally referring to the location of a venue and its productions on a street intersecting Broadway in Manhattan's Theater District, the hub of the theatre industry in the United States, the term later became defined by the League of Off-Broadway Theatres and Producers as a professional venue in New York City with a seating capacity between 100 and 499, or a specific production that appears in such a venue, and which adheres to related trade union and other contracts. Previously, regardless of the size of the venue, a theatre was not considered OffBroadway if it was within the "Broadway Box" (extending from 40th to 54th Street, and from west of Sixth Avenue to east of Eighth Avenue, and including Times Square and 42nd Street). The contractual definition changed this to encompass theatres meeting the standard, which is beneficial to these theatres because of the lower minimum required salary for Actors' Equity performers at Off-Broadway theatres as compared with the salary requirements of the union for Broadway theatres. Examples of Off-Broadway theatres within the Broadway Box are the Laura Pels Theatre and the Snapple Theater Center.According to Bloom and Vlastnik, the Off-Broadway movement started in the 1950s, as a reaction to the "perceived commercialism of Broadway" and provided an "outlet for a new generation" of creative artists. This "fertile breeding ground, away from the pressures of commercial production and critical brickbats, helped give a leg up to hundreds of future Broadway greats. The first great Off-Broadway musical was the 1954 revival of the Brecht/Weill ThreepennyOpera."A number of Off-Broadway musicals have had subsequent runs on Broadway. These have included musicals such as Hair, Godspell, A Chorus Line, Little Shop of Horrors, Sunday in the Park with George, Rent, Grey Gardens, Urinetown, Avenue Q, The 25th Annual Putnam County Spelling Bee, Rock of Ages, In The Heights, Spring Awakening and Next to Normal. Plays that have moved to Broadway include Doubt, I Am My Own Wife, Bridge & Tunnel, The Normal Heart, and Coastal Disturbances. Other productions, such as Stomp, Blue Man Group, Altar Boyz, Perfect Crime and Naked Boys Singing have run for several years Off Broadway. The Fantasticks, the longest-running musical in theatre history, spent its original 42-year run Off Broadway. 3) American musical theatre - musical play and musical comedy: “semi – classical” or “classical- popular” musical form, from “Oklahoma” and “Westside story” to “Hair” and “Cats”; the music of Gershwin and Bernstein. America’s most influential musicians: Hopkinson, Billings, MacDowell, Joplin, B.B. King, Armstrong, Duke Elington, Gershwin, Elvis Presley, Bob Dylan, Bob Marley. It took many years for the American musical theatre to acquire its own identity. The first musical production in the Colonies was Flora, a performance that took place in a court room in Charleston, South Carolina, on February 8, 1735. Flora was a ballad opera imported from England. The English ballad opera remained popular in the Colonies for several decades. Musical play is a theater production with many songs and dances that provide the story. Musical comedy is a comedic play or movie in which dialogue is interspersed with songs, especially one with a focus on musical numbers and a simple plot. The saga of the trials and tribulations of Oklahoma! before it reached its première performance in New York to become one of the surpassing triumphs of the American theatre is now a twice-told tale. Virtually everybody connected with the production was convinced he was involved with a box-office disaster. Here was a musical without stars; without "gags" and humour; without the sex appeal of chorus girls in flimsy attire. Here was a musical that strayed into realism and grim tragedy, with Jud as one of the main characters, and his death as a climax of the story. Here, finally, was a musical which for the first time in Broadway history leaned heavily upon American folk-ballet -the choreography by Agnes De Mille, one of America's foremost choreographers and ballet dancers. Oklahoma! might be fine art, was the general consensus of opinion before première time, but it was poison at the box-office. The effort to get the necessary financial backing proved to be a back-breaking operation, successfully consummated only because the Theatre Guild, which had undertaken the production, had many friends and allies. But there was hardly an investor anywhere who did not think he was throwing his money down a sewer. When Oklahoma! opened out of town scouts sent back to New York the succinct message: "No Girls, No Gags, No Chance." After the New York opening, the line was revised to read: "No Girls, No Gags, No Tickets." For at that première performance the surpassing beauty, the freshness, the imagination and the magic of this musical play held the audience spellbound from the opening curtain on. There was a vociferous ovation at the end. The next day the critics vied with each other in the expression of superlatives. One of them, Lewis Nichols, did not hesitate to describe it as "folk opera". But Oklahoma! not only opened new vistas for the American musical theatre with its new and unorthodox approaches, and with the vitality and inspiration of Hammerstein's text and lyrics and Rodgers' music. It created box-office history. It ran on Broadway for five years and nine months (2,248 performances), breaking all of the then existing records both for length of run and for box-office receipts. A national company toured the United States for ten years, performing in about 250 cities before an audience exceeding ten million. In addition, when the New York engagement ended, the original company went on a tour of seventy-one cities. Companies were formed to produce the play in Europe, South Africa, Scandinavia, Australia and for the armed forces in all the theatres of war during the last years of the Second World War. In London its run proved the longest in the three-hundred year history of the Drury Lane Theatre. West Side Story is an American musical with a book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim, and conception and choreography by Jerome Robbins. It was inspired by William Shakespeare's play Romeo and Juliet. The story is set in the East 40s and West 50s of the Upper West Side neighborhood in New York City in the mid-1950s, an ethnic, blue-collar neighborhood. The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks from Puerto Rico are taunted by the Jets, a Polish-American workingclass group. The young protagonist, Tony, one of the Jets, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes "Something's Coming", "Maria", "America", "Somewhere", "Tonight", "Jet Song", "I Feel Pretty", "A Boy Like That", "One Hand, One Heart", "Gee, Officer Krupke", and "Cool".The original 1957 Broadway production, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson's The Music Man; it won a Tony Award for Robbins' choreography. The show had an even longer-running London production, a number of revivals and international productions. The play spawned an innovative 1961 musical film of the same name, directed by Robert Wise and Robbins, starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film won ten Academy Awards out of eleven nominations, including Best Picture. Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The musical broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to succumb to the pressures of his parents (and conservative America) to serve in Vietnam, compromising his pacifistic principles and risking his life.After an Off-Broadway debut in October 1967 at Joseph Papp's Public Theater and a subsequent run in a midtown discothèque space, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production that ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical, including the 3 million-selling original Broadway cast recording. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened on March 31, 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for best revival of a musical. In 2008, Time magazine wrote, "Today Hair seems, if anything, more daring than ever". Cats (stylized as CATS) is a musical composed by Andrew Lloyd Webber, based on Old Possum's Book of Practical Cats by T. S. Eliot. The musical tells the story of a tribe of cats called the Jellicles and the night they make what is known as "the Jellicle choice" and decide which cat will ascend to the Heaviside Layer and come back to a new life. Cats also introduced the song standard "Memory".Directed by Trevor Nunn and choreographed by Gillian Lynne, Cats first opened in the West End in 1981 and then with the same creative team on Broadway in 1982. It won numerous awards, including Best Musical at both the Laurence Olivier Awards and the Tony Awards. The London production ran for twenty-one years and the Broadway production ran for eighteen years, both setting . Actresses Elaine Paige and Betty Buckley became particularly associated with the musical. One actress, Marlene Danielle, performed in the Broadway production for its entire run (from 1982 until 2000).Cats is the second longest-running show in Broadway history, and the fourth longest-running West End musical. It has been performed around the world many times and has been translated into more than 20 languages. In 1998, Cats was turned into a made-for-television film. George Gershwin (September 26, 1898 – July 11, 1937) was an American composer and pianist.Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are widely known. Among his best known works are the orchestral compositions Rhapsody in Blue and An American in Paris, as well as the opera Porgy and Bess. Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark and Henry Cowell. He began his career as a song plugger, but soon started composing Broadway theatre works with his brother Ira Gershwin and Buddy DeSylva. He moved to Paris to study with Nadia Boulanger, where he began to compose An American in Paris. After returning to New York City, he wrote Porgy and Bess with Ira and the author DuBose Heyward. Initially a commercial failure, Porgy and Bess is now considered one of the most important American operas of the twentieth century. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a brain tumor.Gershwin's compositions have been used in numerous films and on television, and several became jazz standards recorded in many variations. Countless singers and musicians have recorded his songs. Leonard Bernstein [ˈbɜrnstaɪn] (August 25, 1918 – October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim. According to The New York Times, he was "one of the most prodigiously talented and successful musicians in American history." He is quite possibly the conductor whose name is best known to the public in general, especially the American public. His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for West Side Story, as well as Candide, Wonderful Town, On the Town and his own Mass .Bernstein was also the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. In addition, he was a skilled pianist, often conducting piano concertos from the keyboard. As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and commercial success of West Side Story. 3)Irwin Shaw (February 27, 1913 – May 16, 1984) was a prolific American playwright, screenwriter, novelist, and short-story author whose written works have sold more than 14 million copies. He is best known for his novel The Young Lions (1948) about the fate of three soldiers during World War II that was made into a film starring Marlon Brando. Though Shaw's work received widespread critical acclaim, the success of his commercial fiction ultimately diminished his literary reputation. Shaw was born Irwin Gilbert Shamforoff in the South Bronx, New York City, to Russian Jewish immigrants. His parents were Rose and Will. His younger brother, David Shaw (died 2007), became a noted Hollywood producer. Shortly after Irwin's birth, the Shamforoffs moved to Brooklyn. Irwin changed his surname upon entering college. He spent most of his youth in Brooklyn, where he graduated from Brooklyn College with a Bachelor of Arts degree in 1934. Shaw died in Davos, Switzerland on May 16, 1984, aged 71, after undergoing treatment for prostate cancer. Shaw began screenwriting in 1935 at the age of 21, and scripted for several radio shows, including Dick Tracy, The Gumps and Studio One. He recaptured this period of his life in his short story "Main Currents of American Thought," about a hack radio writer grinding out one script after another while calculating the number of words equal to the rent money:“ Furniture, and a hundred and thirty-seven dollars. His mother had always wanted a good dining-room table. She didn't have a maid, she said, so he ought to get her a dining room table. How many words for a diningroom table? ”Shaw's first play, Bury the Dead (1936) was an expressionist drama about a group of soldiers killed in a battle who refuse to be buried. His play Quiet City, directed by EliaKazan and with incidental music by Aaron Copland, closed after two Sunday performances.During the 1940s, Shaw wrote for a number of films, including The Talk of the Town (a comedy about civil liberties), The Commandos Strike at Dawn (based on a C.S. Forester story about commandos in occupied Norway) and Easy Living (about a football player unable to enter the game due to a medical condition). Shaw married Marian Edwards (daughter of well-known screen actor Snitz Edwards). They had one son, Adam Shaw, born in 1950, himself a writer of magazine articles and non-fiction.Shaw summered at the Pine Brook Country Club, located in the countryside of Nichols, Connecticut, which became the summer home of the Group Theatre (New York), with; Elia Kazan, Harry Morgan, John Garfield, Francis Farmer, Will Geer, Clifford Odets and Lee J. Cobb.Shaw enlisted in the U.S. Army and was a warrant officer during World War II. The Young Lions, Shaw's first novel, was published in 1948. Based on his experiences in Europe during the war, the novel was very successful and was adapted into a 1958 film. Shaw was not happy with the film. Shaw's second novel, The Troubled Air, chronicling the rise of McCarthyism, was published in 1951. He was among those who signed a petition asking the U.S. Supreme Court to review the John Howard Lawson and Dalton Trumbo convictions for contempt of Congress, resulting from hearings by the House Committee on Un-American Activities. Accused of being a communist by the Red Channels publication, Shaw was placed on the Hollywood blacklist by the movie studio bosses. In 1951 he left the United States and went to Europe, where he lived for 25 years, mostly in Paris and Switzerland. He later claimed that the blacklist "only glancingly bruised" his career. During the 1950s he wrote several more screenplays, including Desire Under the Elms (based on Eugene O'Neill's play) and Fire Down Below (about a tramp boat in the Caribbean).While living in Europe, Shaw wrote more bestselling books, notably Lucy Crown (1956), Two Weeks in Another Town (1960), Rich Man, Poor Man (1970) (for which he would later write a less successful sequel entitled Beggarman, Thief) and Evening in Byzantium (made into a 1978 TV movie). Rich Man, Poor Man was adapted into a highly successful ABC television miniseries in 1976.His novel Top of the Hill was made into a TV movie about the Winter Olympics at Lake Placid in 1980, starring Wayne Rogers, Adrienne Barbeau, and Sonny Bono.His last two novels were Bread Upon the Waters (1981) and Acceptable Losses (1982). During his lifetime Shaw won a number of awards, including two O. Henry Awards, a National Institute of Arts and Letters grant, and three Playboy Awards. Arthur Asher Miller (October 17, 1915 – February 10, 2005)[2][3] was an American playwright and essayist. He was a prominent figure in American theatre, writing dramas that include plays such as All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (one-act, 1955; revised two-act, 1956), as well as the film The Misfits (1961).Miller was often in the public eye, particularly during the late 1940s, 1950s and early 1960s, a period during which he testified before the House Un-American Activities Committee, received the Pulitzer Prize for Drama, and was married to Marilyn Monroe. In 2002 he received the Prince of Asturias Award and in 2003 the Jerusalem Prize.Miller wrote The Man Who Had All the Luck, which was produced in New Jersey in 1940 and won the Theatre Guild's National Award. The play closed after four performances and disastrous reviews.[13]In his book Trinity of Passion, author Alan M. Wald conjectures that Miller was "a member of a writer's unit of the Communist Party around 1946," using the pseudonym Matt Wayne, and editing a drama column in the magazine The New Masses.In 1946 Miller's play All My Sons, the writing of which had commenced in 1941, was a success on Broadway (earning him his first Tony Award, for Best Author) and his reputation as a playwright was established. Years later, in a 1994 interview with Ron Rifkin, Miller said that most contemporary critics regarded All My Sons as "a very depressing play in a time of great optimism" and that positive reviews from Brooks Atkinson of The New York Times had saved it from failure.In 1948 Miller built a small studio in Roxbury, Connecticut. There, in less than a day, he wrote Act I of Death of a Salesman. Within six weeks, he completed the rest of the play,[7] one of the classics of world theater.[5][17] Death of a Salesman premiered on Broadway on February 10, 1949 at the Morosco Theatre, directed by Elia Kazan, and starring Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, and Cameron Mitchell as Happy. The play was commercially successful and critically acclaimed, winning a Tony Award for Best Author, the New York Drama Circle Critics' Award, and the Pulitzer Prize for Drama. It was the first play to win all three of these major awards. The play was performed 742 times.In 1952, Kazan appeared before the House Un-American Activities Committee (HUAC); unwilling to risk his promising career in Hollywood for the Communist cause that he had come to despise, Kazan named eight members of the Group Theatre, including Clifford Odets, Paula Strasberg, Lillian Hellman, Joe Bromberg, and John Garfield,[18] who in recent years had been fellow members of the Communist Party.[19] After speaking with Kazan about his testimony Miller traveled to Salem, Massachusetts to research the witch trials of 1692. The Crucible, in which Miller likened the situation with the House Un-American Activities Committee to the witch hunt in Salem in 1692,opened at the Beck Theatre on Broadway on January 22, 1953. Though widely considered only somewhat successful at the time of its initial release, today The Crucible is Miller's most frequently produced work throughout the world and was adapted into an opera by Robert Ward, which won the Pulitzer Prize for Music in 1962. Miller and Kazan were close friends throughout the late 1940s and early 1950s, but after Kazan's testimony to the HUAC, the pair's friendship ended, and they did not speak to each other for the next ten years. The HUAC took an interest in Miller himself not long after The Crucible opened, denying him a passport to attend the play's London opening in 1954. Kazan defended his own actions through his film On the Waterfront, in which a dockworker heroically testifies against a corrupt union boss.Miller's experience with the HUAC affected him throughout his life. In the late 1970s he became very interested in the highly publicized Barbara Gibbons murder case, in which Gibbons' son Peter Reilly was convicted of his mother's murder based on what many felt was a coerced confession and little other evidence. City Confidential, an A&E Network series, produced an episode about the murder, postulating that part of the reason Miller took such an active interest (including supporting Reilly's defense and using his own celebrity to bring attention to Reilly's plight) was because he had felt similarly persecuted in his run-ins with the HUAC. He sympathized with Reilly, whom he firmly believed to be innocent and to have been railroaded by the Connecticut State Police and the Attorney General who had initially prosecuted the case.Later career -In 1964 Miller's next play was produced. After the Fall is a deeply personal view of Miller's experiences during his marriage to Monroe. The play reunited Miller with his former friend Kazan: they collaborated on both the script and the direction. After the Fall opened on January 23, 1964 at the ANTA Theatre in Washington Square Park amid a flurry of publicity and outrage at putting a Monroe-like character, called Maggie, on stage.[2] That same year, Miller produced Incident at Vichy. In 1965, Miller was elected the first American president of PEN International, a position which he held for four years.[29] During this period Miller wrote the penetrating family drama, The Price, produced in 1968.[2] It was Miller's most successful play since Death of a Salesman.In 1969, Miller's works were banned in the Soviet Union after he campaigned for the freedom of dissident writers.[7] Throughout the 1970s, Miller spent much of his time experimenting with the theatre, producing one-act plays such as Fame and The Reason Why, and traveling with his wife, producing In The Country and Chinese Encounters with her. Both his 1972 comedy The Creation of the World and Other Business and its musical adaptation, Up from Paradise, were critical and commercial failures.Miller was an unusually articulate commentator on his own work. In 1978 he published a collection of his Theater Essays, edited by Robert A. Martin and with a foreword by Miller. Highlights of the collection included Miller's introduction to his Collected Plays, his reflections on the theory of tragedy, comments on the McCarthy Era, and pieces arguing for a publicly supported theater. Reviewing this collection in the Chicago Tribune, Studs Terkel remarked, "in reading [the Theater Essays]...you are exhilaratingly aware of a social critic, as well as a playwright, who knows what he's talking about."[33]In 1983, Miller traveled to China to produce and direct Death of a Salesman at the People's Art Theatre in Beijing. The play was a success in China[30] and in 1984, Salesman in Beijing, a book about Miller's experiences in Beijing, was published. Around the same time, Death of a Salesman was made into a TV movie starring Dustin Hoffman as Willy Loman. Shown on CBS, it attracted 25 million viewers.[7][34] In late 1987, Miller's autobiographical work, Timebends, was published. Before it was published, it was well known that Miller would not talk about Monroe in interviews; in Timebends Miller talks about his experiences with Monroe in detail.[2] During the early 1990s Miller wrote three new plays, The Ride Down Mt. Morgan (1991), The Last Yankee (1992), and Broken Glass (1994). In 1996, a film of The Crucible starring Daniel Day-Lewis and Winona Ryder opened. Miller spent much of 1996 working on the screenplay to the film.[7] Mr. Peters' Connections was staged OffBroadway in 1998, and Death of a Salesman was revived on Broadway in 1999 to celebrate its fiftieth anniversary. The play, once again, was a large critical success, winning a Tony Award for best revival of a play.In 1993, he was awarded the National Medal of Arts.[36] Miller was honored with the PEN/Laura Pels International Foundation for Theater Award for a Master American Dramatist in 1998. In 2001 the National Endowment for the Humanities (NEH) selected Miller for the Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities.[37] Miller's lecture was entitled "On Politics and the Art of Acting."[38] Miller's lecture analyzed political events (including the U.S. presidential election of 2000) in terms of the "arts of performance," and it drew attacks from some conservatives[39] such as Jay Nordlinger, who called it "a disgrace," [40] and George Will, who argued that Miller was not legitimately a "scholar."[41]In 1999 Miller was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life."[42] On May 1, 2002, Miller was awarded Spain's Principe de Asturias Prize for Literature as "the undisputed master of modern drama." Later that year, IngeborgMorath died of lymphatic cancer[43] at the age of 78. The following year Miller won the Jerusalem Prize.In December 2004, the 89year-old Miller announced that he had been in love with 34-year-old minimalist painter Agnes Barley and had been living with her at his Connecticut farm since 2002, and that they intended to marry. Within hours of her father's death, Rebecca Miller ordered Barley to vacate the premises, having consistently opposed the relationship. Miller's final play, Finishing the Picture, opened at the Goodman Theatre, Chicago, in the fall of 2004, with one character said to be based on Barley.[citation needed] Miller said that the work was based on the experience of filming The Misfits. Thomas Lanier "Tennessee" Williams III (March 26, 1911 – February 25, 1983) was an American writer who worked principally as a playwright in the American theater. He also wrote short stories, novels, poetry, essays, screenplays and a volume of memoirs. His professional career lasted from the mid-1930s until his death in 1983, and saw the creation of many plays that are regarded as classics of the American stage. Williams adapted much of his best known work for the cinema. In the late 1930s, as the young playwright struggled to have his work accepted, Williams supported himself with a string of menial jobs (including a notably disastrous stint as caretaker on a chicken ranch outside Los Angeles). In 1939, with the help of his agent, Audrey Wood, he was awarded a $1,000 grant from the Rockefeller Foundation in recognition of his play Battle of Angels which was produced in Boston in 1940, but poorly received. Using the remainder of the Rockefeller funds, Williams moved to New Orleans in 1939 to write for the Works Progress Administration (WPA), a federally funded program begun by President Franklin D. Roosevelt which was created to put people back to work and helped many artists, musicians and writers survive during the Great Depression. He lived for a time in the French Quarter; first at 722 Toulouse Street, the setting of his 1977 play Vieux Carré. (The building is now part of The Historic New Orleans Collection).[8] The Rockefeller grant gained him attention and Williams received a six-month contract from the Metro Goldwyn Mayer film studio in Hollywood, earning $250 weekly.During the winter of 1944–45, his "memory play" The Glass Menagerie was successfully produced in Chicago garnering good reviews. It moved to New York where it became an instant and enormous hit during its long Broadway run. The play tells the story of a young man, Tom, his disabled sister, Laura, and their controlling mother Amanda, who tries to make a match between Laura and a gentleman caller. Williams' use of his own familial relationships as inspiration for the play is impossible to miss. Elia Kazan (who directed many of Williams' greatest successes) said of Williams: "Everything in his life is in his plays, and everything in his plays is in his life."[9] The Glass Menagerie won the New York Drama Critics' Circle Award for best play of the season.The huge success of his next play, A Streetcar Named Desire, in 1947 secured his reputation as a great playwright. Although widely celebrated and increasingly wealthy, he was still restless and insecure in the grip of fears that he would not be able to duplicate his success. During the late 1940s and 1950s Williams began to travel widely with his partner Frank Merlo, often spending summers in Europe. To stimulate his writing he moved often, to various cities including New York, New Orleans, Key West, Rome, Barcelona, and London. Williams wrote, "Only some radical change can divert the downward course of my spirit, some startling new place or people to arrest the drift, the drag."[6]:xvWilliams walking to the service for Dylan Thomas, 1953.Between 1948 and 1959 seven of his plays were performed on Broadway: Summer and Smoke (1948), The Rose Tattoo (1951), Camino Real (1953), Cat on a Hot Tin Roof (1955), Orpheus Descending (1957), Garden District (1958), and Sweet Bird of Youth (1959). By 1959 he had earned two Pulitzer Prizes, three New York Drama Critics' Circle Awards, three Donaldson Awards, and a Tony Award.His work reached world-wide audiences in the early 1950s when The Glass Menagerie and A Streetcar Named Desire were made into motion pictures. Later plays also adapted for the screen included Cat on a Hot Tin Roof, The Rose Tattoo, Orpheus Descending, The Night of the Iguana, Sweet Bird of Youth, and Summer and Smoke.After the extraordinary successes of the 1940s and 1950s, the 1960s and 1970s brought personal turmoil and theatrical failures. Although he continued to write every day, the quality of his work suffered from his increasing alcohol and drug consumption as well as occasional poor choices of collaborators. Consumed by depression over the death of his partner Merlo, and in and out of treatment facilities under the control of his mother and younger brother Dakin, Williams spiraled downward. Kingdom of Earth (1967), In the Bar of a Tokyo Hotel (1969), Small Craft Warnings (1973), The Two Character Play (also called Out Cry, 1973), The Red Devil Battery Sign (1976), Vieux Carré (1978), Clothes for a Summer Hotel (1980) and others were all box office failures, and the relentlessly negative press notices wore down his spirit. His last play, A House Not Meant To Stand was produced in Chicago in 1982 and, despite largely positive reviews, ran for only 40 performances.Critics and audiences alike failed to appreciate Williams' new style and the approach to theater he developed during 1960s. Williams said, “I’ve been working very hard since 1969 to make an artistic comeback…there is no release short of death”(Spoto 335), and “I want to warn you, Elliot, the critics are out to get me. You’ll see how vicious they are. They make comparisons with my earlier work, but I’m writing differently now” (Spoto 331). Leverich explains that Williams to the end was concerned with "the depths and origin of human feelings and motivations, the difference being that he had gone into a deeper, more obscure realm, which, of course, put the poet in him to the fore, and not the playwright who would bring much concern for audience and critical reaction” (xxiii). Edward Franklin Albee III (/ˈɔːlbiː/ AWL-bee; born March 12, 1928) is an American playwright who is known for works such as The Zoo Story (1958), The Sandbox (1959), Who's Afraid of Virginia Woolf? (1962), and a rewrite of the book for the unsuccessful musical Breakfast at Tiffany's an adaptation of Truman Capote's Breakfast at Tiffany's (1966). His works are considered well-crafted, often unsympathetic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Samuel Beckett, Eugène Ionesco, and Jean Genet. Younger American playwrights, such as Paula Vogel, credit Albee's daring mix of theatricality and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. Albee continues to experiment in works, such as The Goat: or, Who Is Sylvia? (2002) [edit]According to Magill's Survey of American Literature (2007), Edward Albee was born somewhere in Virginia (the popular belief is that he was born in Washington, D.C.). He was adopted two weeks later and taken to Larchmont, New York in Westchester County, where he grew up. Albee's adoptive father, Reed A. Albee, the wealthy son of vaudeville magnate Edward Franklin Albee II, owned several theaters. Here the young Edward first gained familiarity with the theatre. His adoptive mother, Reed's third wife, Frances (Cotter), tried to raise Albee to fit into their social circles. Edward Albee at the 1987 Miami Book Fair International.Albee attended the Clinton High School, then the Lawrenceville School in New Jersey, from which he was expelled. He then was sent to Valley Forge Military Academy in Wayne, Pennsylvania, where he was dismissed in less than a year. He enrolled at The Choate School (now Choate Rosemary Hall) in Wallingford, Connecticut, graduating in 1946. His formal education continued at Trinity College in Hartford, Connecticut, where he was expelled in 1947 for skipping classes and refusing to attend compulsory chapel. In light of his expulsion, Albee's play Who's Afraid of Virginia Woolf? is believed to be based on his experiences at Trinity College.[citation needed]Albee left home for good when he was in his late teens. In a later interview, he said: "I never felt comfortable with the adoptive parents. I don't think they knew how to be parents. I probably didn't know how to be a son, either."[1] More recently, he told interviewer Charlie Rose that he was "thrown out" because his parents wanted him to become a "corporate thug" and did not approve of his aspirations to become a writer.Albee moved into New York's Greenwich Village, where he supported himself with odd jobs while learning to write plays. His first play, The Zoo Story, was first staged in Berlin. The less than diligent student later dedicated much of his time to promoting American university theatre. He currently is a distinguished professor at the University of Houston, where he teaches an exclusive playwriting course. His plays are published by Dramatists Play Service[3] and Samuel French, Inc.Albee is openly gay and states that he first knew he was gay at age 12 and a half.He has insisted, however, that he does not want to be known as a "gay writer", stating in his acceptance speech for the 2011 Lambda Literary Foundation's Pioneer Award for Lifetime Achievement: "A writer who happens to be gay or lesbian must be able to transcend self. I am not a gay writer. I am a writer who happens to be gay."[5]Albee's longtime partner, Jonathan Thomas, a sculptor, died on May 2, 2005, from bladder cancer. Lillian Florence "Lilly" Hellman (June 20, 1905 – June 30, 1984) was an American author of plays, screenplays, and memoirs and throughout her life, was linked with many left-wing political causes. Works [edit] The Children's Hour (1934 play) The Dark Angel (1935 screenplay) These Three (1936 screenplay) Days To Come (1936) Dead End (1937) The North Star (1943 screenplay) The Little Foxes (1939 play) Watch on the Rhine (1941 play) The Little Foxes (1941 screenplay) The Dark Angel (1935 screenplay) These Three (1936 screenplay) Days To Come (1936) Dead End (1937) The North Star (1943 screenplay) The Little Foxes (1939 play) Watch on the Rhine (1941 play) Anthony Robert "Tony" Kushner (born July 16, 1956) is an American playwright and screenwriter. He received the Pulitzer Prize for Drama in 1993 for his play Angels in America: A Gay Fantasia on National Themes. He co-authored with Eric Roth the screenplay for the 2005 film Munich, and wrote the screenplay for the 2012 film Lincoln. Career Kushner's best known work is Angels in America (a play in two parts: Millennium Approaches and Perestroika), a seven-hour epic about the AIDS epidemic in Reagan-era New York, which was later adapted into an HBO miniseries for which Kushner wrote the screenplay. His other plays include Hydriotaphia, Slavs!: Thinking About the Longstanding Problems of Virtue and Happiness, A Bright Room Called Day, Homebody/Kabul, and the book for the musical Caroline, or Change. His new translation of Bertolt Brecht's Mother Courage and Her Children was performed at the Delacorte Theater in the summer of 2006, starring Meryl Streep and directed by George C. Wolfe. Kushner has also adapted Brecht's The Good Person of Szechwan, Corneille's The Illusion, and S. Ansky's play The Dybbuk.In the early 2000s, Kushner began writing for film. His co-written screenplay Munich was produced and directed by Steven Spielberg in 2005. In January 2006, a documentary feature about Kushner entitled Wrestling With Angels debuted at the Sundance Film Festival. The film was directed by Freida Lee Mock. In April 2011 it was announced that he was working with Spielberg again, writing the screenplay for an adaptation of historian Doris Kearns Goodwin's book Team of Rivals: The Political Genius of Abraham Lincoln.Kushner is famous for frequent revisions and years-long gestations of his plays. Both Angels in America: Perestroika and Homebody/Kabul were significantly revised even after they were first published.Kushner has admitted that the original script version of Angels in America: Perestroika is nearly double the length of the theatrical version. His newest completed work, the play The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures, began as a novel more than a decade ago.Awards 1993 Drama Desk Award for Outstanding Play – Angels in America: Millennium Approaches 1993 Pulitzer Prize for Drama – Angels in America: Millennium Approaches 1993 Tony Award for Best Play – Angels in America: Millennium Approaches 1994 Drama Desk Award for Outstanding Play – Angels in America: Perestroika 1994 Tony Award for Best Play – Angels in America: Perestroika 2002 PEN/Laura Pels International Foundation for Theater Award for a playwright in mid-career 2004 Primetime Emmy Award for Outstanding Writing for a Miniseries, Movie or a Dramatic Special, Angels in America 2007 Laurence Olivier Award for Best New Musical – Caroline, or Change 2008 Steinberg Distinguished Playwright Award 2011 Puffin/Nation Prize for Creative Citizenship[21] 2012 St. Louis Literary Award 2012 New York Film Critics Circle Award for Best Screenplay Lincoln 2012 Paul Selvin Award - Lincoln Nominations 2004 Drama Desk Award for Outstanding Book of a Musical – Caroline, or Change 2004 Tony Award for Best Book of a Musical – Caroline, or Change 2004 Tony Award for Best Original Score – Caroline, or Change 2005 Academy Award for Best Adapted Screenplay – Munich 2005 Golden Globe Award for Best Screenplay – Munich 2012 Academy Award for Best Adapted Screenplay - Lincoln 2012 AACTA International Award for Best Screenplay - Lincoln 2012 BAFTA Award for Best Adapted Screenplay - Lincoln 2012 Golden Globe Award for Best Screenplay – Lincoln 2012 Writers Guild of America Award for Best Adapted Screenplay - Lincoln Other Evening Standard Award Obie Award New York Drama Critics' Circle American Academy of Arts and Letters Award 1990 Whiting Writers' Award Lila Wallace/Reader's Digest Fellowship