The Fervent Years

“In the books I read, in the painting I see, in the music I hear, in all conversations, I am aware of the presence of the world itself, I detect a feeling for large issues of human concern. In the theatre these are either absent or diluted, frequently cheapened. Where is the best thought of our time in the theatre, the feeling of some personal significance in any of its works? Either there is something inferior in the theatre per se or there is something wrong about the practical theatre of today that escapes me. I can’t live without the theatre, but I can’t live with it. The theatre gives itself lofty graces, claims a noble lineage, but has no more dimension than a bordello!”That’s Harold Clurman in the 1920’s and it’s what he and The Group Theatre sought to change. They were not alone, others sought the same, all failed as often as they succeeded, but their failures just as much as their successes laid the foundation for the theatre of today.

The Group Theatre, modeled off of the equally influencial Moscow Art Theatre, was an artistic organization that completely and drastically revolutionized not only American Theatre, but World Theatre as well.Formed in the 1930's and comprised of what has become a literal who's who of Theatre: Clifford Odets, Elia Kazan, Harold Clurman, Robert Lewis, Stella Adler, Lee Strasberg, Cheryl Crawford, John Garfield, Sanford Meisner and many others, The Group Theatre sought to create a vibrant and organic native theatre that sought to not only mirror the times but also instigate radical social change.At no other time in American history has an artistic group been comprised of so many talented individuals focused on one aesthetic and political goal. Despite one's political leanings (make no mistake, The Group Theatre were extreme leftest liberals), The Fervent Years provides and endless and bountiful amount of inspiration and stimulation for any theatre artist.Clurman writes in a fine dramatic style that boils with passion, wit and insight. The Fervent Years is required reading for all devotees of The Theatre. But don't let that scare you, it is a most entertaining read at the same time.

A great book about a proud period in American culture.

Excellent!

A classic.

An interesting "experiment" that failed, naturally, since it (the Group Theater) was founded by talented members of NYCs various "ghettos," and they behaved badly -- tiffing, fighting, flaunting their neurotic giblets : Adler, Strasberg, Clurman, Odets and so on. High emotions, tensions, passions. All were very Leftist or, indeed, Commies, since this was the 1930s. Soon "Method" acting was born and how dated..passee...it seems today. The breast-beating and required lamentations for soul-baring actors would soon destroy many. Clurman praises the heady psychological s&m.

What a wonderful book. I've always loved reading history and books of all topics and times of history dominate my shelf. However there is a void that is now apparent of books of the theatre and of the artists working within it. This has been a wonderful introduction to how much can really be said about the formation of a theatre and the ups and downs of its life.Certainly anyone aspiring to be an actor or anyone in the business looking to see what finding the art in your work is all about, this is a must read. Clurman has an amazing memory, vividly retells all that took place during those turbulent years, and does so with a powerful, strong refreshingly opinionated point of view.All in all, really a wonderful book in both story telling and lessons that I would love to revisit soon.

Reading this book created a longing to have been there. Too bad time travel hasn't been perfected - this book is the next best thing.

interesting

Devo dire che l'ho acquistato insieme ad altri libri in inglese relativi al Metodo e all'Actors Studio. Questo, per quanto bello, interessante, pieno di storie piacevoli che non conoscevo, mi è sembrato più che altro un libro nostalgico su quei tempi passati e tanto amati che non ci son più. Un discorso generazionale che lascia sempre il tempo che trova. Interessante, ma non abbiate alte aspettative.

Very Useful for Theatre History Buffs. Loved it