Kenneth Tynan citáty a výroky
Kenneth Tynan: Citáty v angličtine
“I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences.”
Letter to George Devine (10 March 1964), printed in Kenneth Tynan : A Life by Dominic Shellard<!-- Yale University Press, 2003, --> , p. 292
Kontext: I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.
“Welles is at once as abnormal and as natural as Niagara Falls.”
"Orson Welles" (1953), p. 65
Profiles (1990)
Pausing on the Stairs (1957)<!-- also quoted in Bartlett's Familiar Quotations (2014 edition) -->
Kontext: Useless, of course, to point out that the genesis of good plays is hardly ever abstract; that it tends, on the contrary, to be something as concrete and casual as a glance intercepted, a remark overheard, or an insignificant news item buried at the bottom of page three. Yet it is by trivialities like these that the true playwright's blood is fired. They spur him to story-telling; they bring on the narrative fit that is his glory and his basic credential. Show me a congenital eavesdropper with the instincts of a peeping Tom, and I will show you the makings of a dramatist. Only the makings, of course: curiosity about people is merely the beginning of the road to the masterpiece: but if that curiosity is sustained you will find, when the rules have been mastered and the end has been reached, that a miracle has happened.
Curtains (1961)
Kontext: Art and ideology often interact on each other; but the plain fact is that both spring from a common source. Both draw on human experience to explain mankind to itself; both attempt, in very different ways, to assemble coherence from seemingly unrelated phenomena; both stand guard for us against chaos.
Letter to George Devine (10 March 1964), printed in Kenneth Tynan : A Life by Dominic Shellard<!-- Yale University Press, 2003, --> , p. 292
Kontext: I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.
“People have always needed art: but why have they needed it?”
Review of The Necessity of Art (1959) by Ernest Fischer
Tynan Right and Left (1967)
Kontext: People have always needed art: but why have they needed it? And what shaped the forms by which they satisfied their need? … In the arts form tends to be conservative, and content to be revolutionary; it is novelty of content that precedes, demands and imposes novelty of form.
Foreword
Tynan Right and Left (1967)
"Meditations on Basic Baroque," IV (1966), p. 432
Tynan Right and Left (1967)
Review of After the Fall, by Arthur Miller, at the ANTA Washington Square Theatre, New York; Blues for Mister Charlie, by James Baldwin at the ANTA Theatre, New York (1962), p. 143
Tynan Right and Left (1967)
On singer Frankie Laine
Curtains (1961)
"Laurence Olivier" (1966), p. 208
Profiles (1990)
“Any country that has sexual censorship will eventually have political censorship.”
As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966) http://www.nytimes.com/books/98/05/10/specials/tynan-gadfly.html
Review of Le Misanthrope, by Molière, at the Piccadilly (1962), p. 117
Tynan Right and Left (1967)
“When you've seen all of Ionesco's plays, I felt at the end, you've seen one of them.”
Review of Victims of Duty by Eugène Ionesco (1960), p. 36
Tynan Right and Left (1967)
From Dada Manifesto 1918 (23 March 1918) by Tristan Tzara
Misattributed
Zdroj: As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966)
"This going into Europe will not turn out to be the thrilling mutual exchange supposed. It is more like nine middle aged couples with failing marriages meeting in a darkened bedroom in a Brussels hotel for a group grope." - E.P. Thompson, "On the Europe Debate," The London Times (27 March 1975) http://www.bloomsbury.com/ARC/detail.asp?EntryID=104755&bid=5
Misattributed
“A critic is a man who knows the way but can't drive the car.”
As quoted in "Critic Kenneth Tynan Has Mellowed But Is Still England's Stingingest Gadfly" by Godfrey Smith in The New York Times (9 January 1966)
Varianta: A critic is a man who know the way, but can not drive a car.
"Anatomy of the Absurd" (1962), p. 104
Tynan Right and Left (1967)
"Footnote on Cinema" (undated), p. 260
Tynan Right and Left (1967)
"George Jean Nathan" (1953), p. 61
Profiles (1990)
"Lady Chatterly's Trial (The Old Bailey, 20 October - 2 November 1960)", p. 409
Tynan Right and Left (1967)
“What, when drunk, one sees in other women, one sees in Garbo sober.”
Kenneth Tynan, "Greta Garbo," Sight and Sound (April 1954), republished in Profiles (Harper Collins, 1990, ISBN 0-06-096557-6), p. 79
"Tennessee Williams" (1956), p. 97
Profiles (1990)
“She shows herself to the audience like the Host to the congregation.”
"Marlene Dietrich," p. 217
Profiles (1990)
"Conference at Edinburgh" (1963), p. 146
Tynan Right and Left (1967)
"Marlene Dietrich" (1967), p. 215
Profiles (1990)
“Everyone is vulnerable who is at once gifted and gregarious.”
"Orson Welles" (1961), p. 297
Tynan Right and Left (1967)
"Bernard Shaw," p. 103
Profiles (1990)