Elia Kazan was the twentieth century’s most celebrated director of both stage and screen, and this monumental, revelatory book shows us the master at work. Kazan’s list of Broadway and Hollywood successes—A Streetcar Named Desire, Death of a Salesman, On the Waterfront, to name a few—is a testament to his profound impact on the art of directing. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, reveals Kazan’s method: how he uncovered the “spine,” or core, of each script; how he analyzed each piece in terms of his own experience; and how he determined the specifics of his production. And in the final section, “The Pleasures of Directing”—written during Kazan’s final years—he becomes a wise old pro offering advice and insight for budding artists, writers, actors, and directors.
ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • In this amazing autobiography, Kazan at seventy-eight brings us the undiluted telling of his story—and revelation of himself—all the passion, vitality, and truth, the almost outrageous honesty, that have made him so formidable a stage director (A Streetcar Named Desire, Death of a Salesman, All My Sons, Cat on a Hot Tin Roof, Tea and Sympathy), film director (On the Waterfront, East of Eden, Gentleman’s Agreement, Splendor in the Grass, Baby Doll, The Last Tycoon, A Face in the Crowd), and novelist (the number-one best-seller The Arrangement.) “This is the best autobiography I’ve read by a prominent American in I don’t know how many years. It is endlessly absorbing and I believe this is because it concerns a man who is looking to find a coherent philosophy that will be tough enough to contain all that is ugly in his person and his experience, yet shall prove sufficiently compassionate to give honest judgment on himself and others. Somehow, the author brings this off. Elia Kazan: A Life has that candor of confession which is possible only when the deepest wounds have healed and honesty can achieve what honesty so rarely arrives at—a rich and hearty flavor. By such means, a famous director has written a book that offers the kind of human wealth we find in a major novel.” —Norman Mailer Kazan gives us his sense of himself as an outsider (a Greek rug merchant’s son born in Turkey, an immigrant’s son raised in New York and educated at Williams College). He takes us into the almost accidental sojourn at the Yale Drama School that triggered his commitment to theatre, and his edgy, exciting apprenticeship with the new and astonishing Group Theatre, as stagehand and stage manager—and as actor (Waiting for Lefty, Golden Boy) . . . his first nervous and then successful attempts at directing for theatre and movies (The Skin of Our Teeth, A Tree Grows in Brooklyn) . . . his return to New York to co-found the Actors Studio (and his long and ambivalent relationship with Lee Strasberg) . . . his emergence as premier director on both coasts. With his director’s eye for the telling scene, Kazan shares the joys and complications of production, his unique insights on acting, directing, and producing. He makes us feel the close presence of the actors, producers, and writers he’s worked with—James Dean, Marlon Brando, Tennessee Williams, Vivien Leigh, Tallulah Bankhead, Sam Spiegel, Darryl Zanuck, Harold Clurman, Arthur Miller, Budd Schulberg, James Baldwin, Clifford Odets, and John Steinbeck among them. He gives us a frank and affectionate portrait of Marilyn Monroe. He talks with startling candor about himself as husband and—in the years where he obsessively sought adventure outside marriage—as lover. For the first time, he discusses his Communist Party years and his wrenching decision in 1952 to be a cooperative witness before HUAC. He writes about his birth as a writer. The pace and organic drama of his narrative, his grasp of the life and politics of Broadway and Hollywood, the keenness with which he observes the men and women and worlds around him, and, above all, the honest with which he pursues and captures his own essence, make this one of the most fascinating autobiographies of our time.
In this collection of interviews, renowned Academy Award-winning director Elia Kazan (On the Waterfront, East of Eden, Gentleman's Agreement, Splendor in the Grass, Baby Doll, The Last Tycoon, A Face in the Crowd, and others) reveals with brutal honesty the joys and complications of production and his unique insights on acting, directing, and producing. 60 black & white movie stills and posters, Index, Filmography.
The profession of directing is barely a century old. On Directing considers the position of the director in theater and performance today. What is a director? How do they begin work on a play or performance? What methods are used in rehearsal? Is the director an enabler, a collaborator or dictator? As we enter the new millennium, is the very concept of directing under increasing threat from changes in thinking and practice? The full diversity of today's approaches to directing are explored through a series of interviews with leading contemporary practitioners. On Directing is a landmark book about the director's craft.
The subject of this book is theatre directing in four internationally famous instances. The four directors—Konstantin Stanislavsky, Bertolt Brecht, Elia Kazan, and Peter Brook—all were monarchs of the profession in their time. Without their work, theatre in the twentieth century—so often called "the century of the director" —would have a radically different shape and meaning. The four men are also among the dozen or so modern directors whose theatrical achievements have become culture phenomena. In histories, theories, hagiographies, and polemics, these directors are conferred classic stature, as are the four plays on which they worked. Chekhov's The Seagull, Brecht's Mother Courage and Her Children, and Williams's A Streetcar Named Desire have long been recognized, in the theatre and in the study, as masterpieces. They are anthologized, quoted, taught, parodied, read, and produced constantly and globally. The culturally conservative might question the presence of MaratiSade in such august company, but Peter Weiss's play stands every chance of figuring in Western repertories, classroom study, and theatrical histories until well into the twenty-first century. In their quite different ways, these are all classics of that Western drama which is part of our immediate heritage.
Few figures in film and theater history tower like Elia Kazan. Born in 1909 to Greek parents in Istanbul, Turkey, he arrived in America with incomparable vision and drive, and by the 1950s he was the most important and influential director in the nation, simultaneously dominating both theater and film. His productions of A Streetcar Named Desire and Death of a Salesman reshaped the values of the stage. His films -- most notably On the Waterfront -- brought a new realism and a new intensity of performance to the movies. Kazan's career spanned times of enormous change in his adopted country, and his work affiliated him with many of America's great artistic moments and figures, from New York City's Group Theatre of the 1930s to the rebellious forefront of 1950s Hollywood; from Katharine Hepburn and Spencer Tracy to Marlon Brando and James Dean. Ebullient and secretive, bold and self-doubting, beloved yet reviled for "naming names" before the House Un-American Activities Committee, Kazan was an individual as complex and fascinating as any he directed. He has long deserved a biography as shrewd and sympathetic as this one. In the electrifying Elia Kazan, noted film historian and critic Richard Schickel illuminates much more than a single astonishing life and life's work: He pays discerning tribute to the power of theater and film, and casts a new light on six crucial decades of American history.
From Elia Kazan, the celebrated writer and director: a huge, stunning story of a word in tumult and an immigrant’s life redeemed. It is a pivotal moment in history. The First World War has barely ended. Greek forces are reclaiming Anatolia from the Turks. And Stavros Topouzoglou—who twenty years earlier, escaping oppression of Turkish rule, fled to America only to discover the venality of his dream of an American life—disembarks to reclaim his homeland. Here he will recast his life and rid himself of his obsession with the elegant American woman who has become for him the ultimate symbol of success. He will marry an Anatolian girl who will treat him like and “agha.” He will have the life his father had. Stavros’s energy and arrogance propel him to an astonishing success in his war-torn country. Deep in the interior of Anatolia, he meets the woman who he thinks will complete this new vision of himself—the fiercely independent Thomna. But he does not know that her passion matches his own twenty years before—to get to America at any cost. His passion now is for Anatolia, and bringing his mother and sister back from America, he pursues his fortune further into dangerous areas, behind the lines of combat—even when learns that the Allies have deserted the Greeks, even after he loses his brother to the Greco-Turkish war. As the novel unfolds, we see Stavros and his dreams of wealth and home becoming inextricably entwined with the Greek cause—compelling him, at the risk of sacrificing his life with Thomna, to a level of selflessness and heroism he has never before imagined. Beyond the Aegean is a novel dramatically, historically, and emotionally powerful, a novel that both stands uncompromisingly on its own and brings to a close Elia Kazan’s commanding saga of one immigrant life.
