Bücher Kostenlos Elia Kazan: A Life, by Elia Kazan

Bücher Kostenlos Elia Kazan: A Life, by Elia Kazan

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Elia Kazan: A Life, by Elia Kazan

Bücher Kostenlos Elia Kazan: A Life, by Elia Kazan

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Amazon.de

One of the most important theater autobiographies of the 1980s, Elia Kazan: A Life, has finally been released in paperback. The extra decade adds to the book's poignancy and its value: a history of backstage personalities and politics in the 20th century is included in this release. Elia Kazan was a founding member of the Group Theatre, was among those shouting "Strike! Strike!" on the legendary opening night of Waiting for Lefty, directed the two greatest Broadway dramas ever--Death of the Salesman and A Streetcar Named Desire--and earned countless other credits, but he also played a flawed role in the greatest real-life moral drama of his era: the McCarthy Communist witch hunts of the 1950s. Kazan offered names to the House Un-American Activities Committee. He cut his conscience to fit the fashion of the time, and his conscience continues to bleed. Though this book is framed, like so much of Kazan's best stage and film work, as a lifelong search for man's proper relationship to society, the book serves as a massive explanation and apologia for Kazan's one monumental lapse. He lived his life intensely, a life in which a single word could transform you, where a misdeed might be "never forgotten or forgiven." Such were the times, and Kazan captures them with appropriate drama.

Pressestimmen

“A huge sprawling autobiography.”

Alle Produktbeschreibungen

Produktinformation

Taschenbuch: 848 Seiten

Verlag: Da Capo Press (22. August 1997)

Sprache: Englisch

ISBN-10: 0306808048

ISBN-13: 978-0306808043

Größe und/oder Gewicht:

22,9 x 15,5 x 5 cm

Durchschnittliche Kundenbewertung:

5.0 von 5 Sternen

4 Kundenrezensionen

Amazon Bestseller-Rang:

Nr. 265.389 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

This book is perhaps one of the greatest autobiographies of the modern Theatre. Kazan pulls no punches in depicting his epic journey from Greek immigrant to one of the greatest theatre and film directors of all time. His life parallels the crucial artistic movements and conflicts of the Twentieth Century: The Group Theatre, The HUAC hearings, The height and fall of the Hollywood Studio System, the founding of the Actor's Studio, and the development of the American Theatre. Kazan, along with Arthur Miller and Tennessee Williams played a crucial role in creating a strong and vibrant American Theatre. All throughout this amazing journey are insights into the craft of acting as well as the trials and tribulations of a man struggling for personal identity. This book demands to be on the shelf of any student, practitioner or fan of the Theatre. Five out of five stars

Kazan is the only person I can think of who hit home runs in all three fields, theater, film, and fiction. As a director of plays he received five Pulitzer prizes, for directing films, two Academy awards, and in fiction his novel "The Arrangement" became a #1 bestseller for 37 consecutive weeks. Although he calls his autobiography simply "A Life," this book is twice extraordinary, in the dramatic events it covers and a rare candor about himself and his contemporaries. With so many other good books clamoring for my attention, I intend to read it a third time now that this new edition is available.

I have read this book four times. I can't recall an autobiography of any century that is more candid, and is written with such extraordinary brio.

I love this book: the writing style is excellent and the contents are interesting even if you're not working in the theater or movie business (like me). In particular, what I appreciate is that Mr. Kazan wrote an honest, very personal book that doesn't concentrate on the bright side of life.Beware, however, that the printing quality of the Da Capo edition is very bad (which is really annoying for a 850 page book).

This is just about the most insightful book about the theatre, filmmaking and life in general that I have ever read. Is there self-justification here? Sure, but who wouldn’t be guilty of that in their own story.Do I like the guy who emerged? Well, I’m not so sure he did a lot of the time. He is scouring on his own faults and vanities. This was written late in his life and he doesn’t hold back on the self-criticism.Kazan describes his Greek/Turkish forbears and how they came to America. He grew up feeling an outsider, a small guy who looked different; there was a pronounced chip. He studied drama at Yale and then became involved with the Group Theatre – he saw its virtues and its flaws. He worked to support himself and married Molly, a woman whose family had deep roots in America. She was loyal and supportive, they had children together, but he cheated on her – although not unashamedly.Familiar names crop up throughout the book. He tells a good story and is splendidly gossipy, that old cowboy philosophy about never talking about the men you’ve killed or the women you’ve bedded didn’t apply to Elia – the book would have been boring if it had.During the Depression, Kazan became a Communist, driven by an idealised vision of the working class. However Communist Party influence on the arts killed that idealism and he quit the party.He started as an actor, however his talents lay as a director. Success in the theatre led to offers from Hollywood. Although he needed help on the technical aspects of his first film “A Tree Grows in Brooklyn”, Kazan learned fast and developed his own style.As WW2 entered its final phase, Kazan felt he was missing the defining experience of his generation. Through contacts he was sent to the Southwest Pacific theatre and got closer to combat than many in the rear areas.After the war he was instrumental in forming the Actors Studio and directed plays that are still seen as landmarks of theatre; “Death of a Salesman” and “A Streetcar Named Desire”. He believed arrogance to be the driving force behind creativity, equating it with confidence. Kazan was arrogant.His description of a relationship he had with Marilyn Monroe reveals how older men of position and power in Hollywood zeroed in on her – he was one of them. Eventually he introduced her to Arthur Miller.For some, his decision to name names during the blacklist era in 1952 will be the most compelling part of the book. As Kazan tells it, pressure was brought to bear and he was close to kissing his film career goodbye. It cost him friends. Although he condemned the political opportunism of the hearings, he states that he had become anti-communist, believing the Party had attempted to influence all forms of communication. Tellingly though, he finishes the section with, “Here I am, thirty-five years later, still worrying over it”.Kazan felt that the films and plays that followed were his best work, shaped in part by the experience – “On the Waterfront” was his revenge.He gives brilliant insights into all his movies, and in the telling Kazan rivals Niven’s “The Moon’s a Balloon” or “Bring on the Empty horses”. He broke away from stage-bound studio productions and shot on location enduring the discomforts. His observations on people he knew throughout his career, Brando, Zanuck, Tennessee Williams, are as penetrating as a laser.His fortunes seesawed. He is honest about his mistakes with the Lincoln Centre Repertory Theatre. He returned to Turkey to exorcise demons in his most personal creation: “America America”. There were other affairs and great tragedy; he bares his soul as he describes the death of Molly.Writing became more important than making movies; as a healing process, it proved more effective than psychoanalysis. He was troubled and thoughtful on the passing of his second wife and the death of friends. Although he knew he could not record the end of his life’s journey, his own death, he wanted no mawkish memorial.References to Blacks, Jews, Catholics and WASPs may surprise; he knew some would consider him vulgar. A complex man, he needed to be tough – and arrogant. Written 15 years before he died, few artists have left such a record; it’s unique.

A marvelous, well-written, thoughtful, informative book. Worked on for more than a decade, and based on an earlier decade of fiction writing, it encompasses so much: the author's life and loves; his character assessments of dozens of Broadway and Hollywood moguls, producers, directors, and actors; his insights into the crafts of writing, directing and acting; his observations on how people live their lives and deal with death. I am grievously sad that I have now finished this book. I had hoped -- for selfish reasons -- to spread out its 800-plus pages over a longer period, but I kept coming back to it, and, over the past two days, have found myself mourning its impending end. Of the half dozen interesting, informative books on Hollywood in the Golden Age I've read over the past year -- and this includes two wonderful books by Budd Schulberg -- Elia Kazan's memoir is at the pinnacle.

Like the title of the book, Elia Kazan's autobiography is simple and direct. It is also powerful and often fascinating. The famed director of plays and movies like A STREETCAR NAMED DESIRE details his rise from a humble beginning in New York, so adept at the practical details of stagecraft he was given the nickname "Gadg" (for "gadget") which he bore all his life among friends. He ultimately became one of America's best and most successful directors, widely known and an influence on two generations of actors. Kazan's controversial role in "naming names" before federal investigators opened up a rift between him and some of his closest friends and associates; those interested in his life will want to read his take on this unnerving period of our history. Recommended, especially for those interested in midcentury American theater and the many movies it spawned.

Elia Kazan was arguably one of the most influential people that theatre has ever produced. He had an amazing life through his art, and outside of it.Here, at the age of 77, past the point of modesty, conceit and pride, he tells his remarkable story of learning his craft, harnessing his incredible God-given talent, and channelling his drive into success.We learn about his trysts and liasons with other icons, his marriages, his faults and missteps.He owns up to many things that have not made him proud, including naming names during the deplorable McCarthy communist witch hunts of the 1950's.He talks openly of his failures as a parent and a husband, his infidelity, and his loss of faith.He also recounts his many astounding successes in film and theatre, including the many great actors and actresses he worked with.His honest self-assessment is a breath of resh air.This is one of the greatest autobiographies I have ever read.

Great book, a biography for the ages, escpecially if you are a Hollywood/movies buff. He will tell you, as honestly as you can imagine, his struggles for survival, his revealing of "names" during the HUAC investigations, and the reasons behind all this this. Plus, if you like his movies, you have a first rate writer and critic of his own works, and their history. You will hear about the tragedies of his own life,and the devastating results of his inner conflicts. Don't delay buying it. It is the history of cinema for several generations, a great life story. Yes, Kazan may not have been a good novelist--he tried the genre--but a great writer of nis life non-the-less. And a good historian to boot. Worth the price of admission.

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