Kenneth Tynan, a renowned drama critic from the London Observer and The New Yorker, digs into the dynamic clash of art and politics. He recounts his fiery exchange with Hollywood's Samuel Goldwyn on socially engaged theater. The conversation highlights the 'London Controversy' over political themes in plays and touches on the provocative evolution of Hollywood in 1958. Tynan also reflects on the cultural tensions faced by Richard Wright, revealing how frustrations fueled his innovative radio play, merging comedy with profound societal critique.
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Tynan vs Goldwyn on Politics in Art
Kenneth Tynan debated Hollywood mogul Samuel Goldwyn on live TV in 1958 about politics in art.
Goldwyn dismissed politics as hurting profit, while Tynan argued politics is inseparable from art and expression.
insights INSIGHT
Creative Freedom in Film Production
Samuel Goldwyn expressed reluctance to invest heavily in films without assured success.
Kenneth Tynan suggested that foreign producers may have more freedom; Goldwyn seemed unsure of the term.
question_answer ANECDOTE
The London Controversy Theater Feud
The London Controversy arose from Tynan’s harsh criticism of Ionesco’s play The Chairs in 1958.
The dispute involved heated exchanges and was later dramatized by playwright Dan Sinclair as a courtroom satire.
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Set in New York City during the Great Depression, 'Miss Lonelyhearts' is an Expressionist black comedy that follows the life of an unnamed male newspaper columnist writing an advice column for the lovelorn and lonesome. The protagonist, known by his pseudonym Miss Lonelyhearts, is overwhelmed by the desperate letters he receives and struggles with his own mental health, turning to various forms of escape such as religion, trips to the countryside, and sexual affairs. However, these attempts do not alleviate his suffering, and he becomes increasingly disillusioned with the societal conditions of the time. The novel is a stark condemnation of the American Dream and explores themes of alienation, commodification, and the existential crises faced by its characters[3][4][5].
Picture
Lillian Ross
In 'Picture', Lillian Ross chronicles the production of John Huston's 1951 film adaptation of Stephen Crane's 'The Red Badge of Courage'. The book, which originated from a series of articles Ross wrote for The New Yorker, provides a detailed and nuanced account of the film's development, from its inception to its eventual release. Ross's investigative technique involves meticulous notes and extensive quotes from the key figures involved, including Huston and producer Gottfried Reinhardt. The book is praised for its novel-like narrative, its wry observations of the Hollywood system, and its exploration of the tension between artistic vision and commercial viability[2][4][5].
In the fall of 1958, Kenneth Tynan moved from London to New York and upon arrival, clashed with Hollywood mogul Samuel Goldwyn over socially engaged art and the politics of apolitical culture on live TV. At the same moment New Yorker writer Dwight Macdonald went West to report on “New” Hollywood's ambitions to create commercially and artistically successful films. We also meet two of Professor Macdonald’s former students from a Mass Culture course he taught at Bard College in 1958. Meanwhile in France, Richard Wright suffers a number of disturbing attacks, prompting him to channel his frustrations into a revealing radio play.
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