As If: An Autobiography

Index

259 P Index Abbey Theater, the, and Yeats, 36, 130, 149 Abstraction coming to life, 169 and directing, 170, 223, 233 and expressionism, 243, 245 in Kafka’s “The Burrow,” 144 in Mother Courage, 204 and scene design Endgame, 248 Galileo, 194–96 Waiting for Godot, 253 in Stevens, 153 and Yeats, 67 ACT (American Conservatory Theater ), 108 Acting, 95, 103, 148, 150, 153, 175 and actors, 66, 80, 103, 113, 153, 218, 225, 227, 241, 251 and actors’ dreams, 113 in Beckett, 224, 251 as Being-for-Others, 222 on Broadway, 145, 218 in Endgame, 249 in Godot, 225–26 and KRAKEN, 4, 44 and Manley, 103, 109, 113–14, 129, 151, 204 and physical/psychic risks, 236 and stage fright, 79–80 and Stanislavski, 147, 153, 227 and Strickland, 96–97 and Symonds, 188–89, 226–27 and too much thinking, 189 what do we mean by acting? 114, 249 and workshop critiques, 147 Actor’s Workshop of San Francisco, 36–37, 91, 93, 98, 103–4, 111, 131, 137, 139, 142–43, 145, 148, 152, 154, 158, 161, 163, 166–67, 172, 176, 178, 182–83, 187–88, 190, 199–200, 206, 208–9, 216, 218–19, 221–22, 228, 231, 233, 240, 243, 246–57 Productions Balcony, The, 157, 176, 244, 258 Camino Real, 148–49 Cherry Orchard, The, 93, 183, 203, 241 Cock-a-Doodle Dandy, 242 Crucible, The, 131, 157, 173, 199, 200, 205, 206, 221, 243 Death of a Salesman, 183 Endgame, 2, 110, 187, 191, 204, 229, 231, 238, 244, 247–52, 254, 255 Actor’s Workshop of San Francisco Productions (continued) Galileo, 180–82, 184–89, 190, 192–99, 203, 243, 253 Hedda Gabler, 152 Hotel Universe, 146, 153 I Am a Camera, 147 Iceman Cometh, The, 228 King Lear, 92, 134, 186, 195, 238, 244, 254–55, 256–58 Lysistrata, 178–79 Mother Courage, 155, 173, 175, 181, 185, 187–88, 189, 199–208, 210, 221 Oedipus Rex, 170, 175, 177, 178, 180, 186, 190 Playboy of the Western World, 91 Summer and Smoke, 152, 217 Waiting for Godot, 110, 157, 202, 218, 219–31, 232, 233, 239, 241, 255 Age of Reason, 163 Aging, 135, 169, 233 liabilities of, 27, 132 of Mother Courage, 204 and time, 132 and Woodward, authority on, 16, 133 Alienation, 37, 189, 200 and Actor’s Workshop, 155, 205 in Beckett, 223 Brechtian, 170, 175, 200 and deconstruction, 170 and perspective in A-effect, 141 provisional as technique, 203 American Civil Liberties Union (ACLU), 138–39 Anderson, Maxwell, 93 Antitheater, 181, 243 and theatricality, 176 Appearance conundrums of, 154 and dying, 169 and reality, 5, 163, 180 and system of representation, 170 See also Disappearance Aquinas, Saint Thomas, 115, 162 Arden, John, and Serjeant Musgrave’s Dance, 208 Aristophanes, 179 and Lysistrata, 178 Aristotle, 154, 159, 161 and Poetics, 95 Armstrong, Louis, 189 Art, 22, 111, 143, 155–56, 158, 161, 176, 208, 240 and actors as artists, 150 artists in theater, 61, 126, 143, 155, 160, 175, 194–95, 239, 243, 245 and Beat Generation, 130, 194, 244 Deco, 47 and desecrations, 245 of disappearance, 127, 245 of the impossible, 130, 178 its absence in study of drama, 94 in San Francisco, 194 Artaud, Antonin and Brecht, 151, 175, 253 and Eleusinian Mysteries, 176 and metaphysics, 176, 253 and the plague, 245 Astaire, Fred, 20 Atheism, 5, 115 Atomic Age, the, 245 Auden, W. H., 93, 102 Audience, the, 61, 92, 149–53, 177–79, 183, 190, 193–94, 196, 200, 205, 218, 221 attitudes toward, 149, 151, 205 behavior of, 146, 206, 215, 219, 221 being looked at, 224 as community of the question, 205 with empathy arousing shame, 204 and Endgame, 248–51, 253 and Godot, 247 and Hotel Universe, 147 as liberal, 243 at San Quentin, 230 Augustine, Saint, 115 Aunts Fanny, 15–16, 28, 30, 40, 43, 49, 56, 213 Index 260 Rose, 21, 38 Rosie, 11, 21, 33–34, 38 Avant-garde, the death of, 161, 170 European, 170, 215 history of, 148, 245 modernist, 95 traditions of, 161 Baba (grandmother, Gussie Roth), 5–6, 9–11, 33, 40, 56–57 Bailey, Margery, 107–8 Prize in Drama, 107, 124 Bainbridge, Kenneth, 186 Balzac, Honoré de, 51 BAM (Brooklyn Academy of Music), 17 Baroque, 197, 227 risking the, 152, 175, 193, 243 Barry, Philip, and Hotel Universe, 146–47 Barthes, Roland, 4 and Brecht, 173 and...