Frases de Edward Albee

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Edward Albee

Fecha de nacimiento: 12. Marzo 1928
Otros nombres:Edward Franklin Albee

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Edward Franklin Albee III [1]​ fue un dramaturgo estadounidense. Introdujo en gran parte de su país las nuevas tendencias dramáticas europeas de la segunda mitad del siglo XX.

Su obra cumbre y más conocida es ¿Quién teme a Virginia Woolf? ,[2]​ obra de gran éxito en los escenarios internacionales que alcanzó popularidad gracias a su adaptación al cine en 1966. También se destacan sus obras The Zoo Story / Historia del zoo , The Sandbox y una versión de la obra musical que había fracasado sobre la obra de Capote Breakfast at Tiffany's . Sus obras son consideradas profundas y a menudo presentan un examen crítico de la condición moderna.[cita requerida] Sus primeras obras presentan un dominio y americanización del teatro del absurdo que tuvo su apogeo en las obras de escritores europeos tales como Jean Genet, Samuel Beckett, y Eugène Ionesco. Dramaturgos estadounidenses modernos como Paula Vogel, le dan crédito a la mezcla que hace Albee de teatralidad y diálogo punzante para ayudar a reinventar el teatro de Estados Unidos de posguerra hacia comienzos de la década de 1960.

Recibió tres veces el premio Pulitzer de teatro por A Delicate Balance , Seascape y Three Tall Women .

Frases Edward Albee

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„I have been both overpraised and underpraised. I assume by the time I finish writing — and I plan to go on writing until I'm 90 or gaga — it will all equal itself out... You can't involve yourself with the vicissitudes of fashion or critical response.“

— Edward Albee
Context: I have been both overpraised and underpraised. I assume by the time I finish writing — and I plan to go on writing until I'm 90 or gaga — it will all equal itself out... You can't involve yourself with the vicissitudes of fashion or critical response. I'm fairly confident that my work is going to be around for a while. I am pleased and reassured by the fact that a lot of younger playwrights seem to pay me some attention and gain some nourishment from what I do. As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176

„A playwright is someone who lets his guts hang out on the stage.“

— Edward Albee
Context: Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage. Shoptalk: Conversations About Theater and Film with Twelve Writers, One Producer — and Tennessee Williams' Mother by Dennis Brown (1993), Ch. 6 : A Certain Amount of Spleen, p. 122

„You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them.“

— Edward Albee
Context: I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true. Some of them are so busy trying to mold the public taste according to the limits of their perceptions, and others are so busy reflecting what they consider to be the public taste — that view limited again by their perception. You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid — but most people don't take the trouble. "Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 8

„When you write a play, you make a set of assumptions — that you have something to say, that you know how to say it, that its worth saying, and that maybe someone will come along for the ride. That's all.“

— Edward Albee
Context: I survive almost any onslaught with a shrug, which must appear as arrogance, but really isn't because I'm not an arrogant person. When you write a play, you make a set of assumptions — that you have something to say, that you know how to say it, that its worth saying, and that maybe someone will come along for the ride. That's all. And then you go about your business, assuming you'd be the first to know if your talent has collapsed. I don't think I've been a commercial playwright ever. By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing — which is not a commercial playwright. I'm not after the brass ring. I very seldom get it anyway, and then it's accidental when I do. … So I write those things that interest me. As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176

„Well, one is a group of human beings, one is not.“

— Edward Albee
Context: Q: Do you find quite a difference between the audience at large and the critics as a group? A: Well, one is a group of human beings, one is not. "Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 7; a paraphrased form of this statement has often been quoted as "The difference between critics and audiences is that one is a group of humans and one is not."

„I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true.“

— Edward Albee
Context: I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true. Some of them are so busy trying to mold the public taste according to the limits of their perceptions, and others are so busy reflecting what they consider to be the public taste — that view limited again by their perception. You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid — but most people don't take the trouble. "Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 8

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