Interviews with Screenwriters of the s and s. The scriptwriters themselves were generous with their time and comments, with in some cases photographs from their personal stock, and, generally speaking, warm encouragement. The people who conducted or, in the case of Tom Flinn, "edited" the interviews wrote the respective introductions. Winburn in New York City volunteered their time and special talents for portrait photography of several of the screenwriters.
It is true, I suppose, that Cyrano is perhaps too pat and a shade too neatly constructed—but what construction! As for the question of its relation to the great human feelings, I think Simon may be too harsh. Rostand was surely no Shakespeare, and if Cyrano has a flaw it may lie in a certain sentimental indulgence.
I use these qualifiers because, for me, Cyrano de Bergerac is a five-hanky exercise. Only two such world performers of memory—Christopher Plummer here and Derek Jacobi in Britain—have been especially noted for nailing both prerequisites in their portrayals of the poetic cavalier with the outsized nose.
Here are athleticism and erudition combined: We smile at his wit when not laughing outright. We float on clouds of exhilaration at his every gesture and jocular aside.
The role is tricky; a poor Roxane risks making her insatiable desire for intellectual and poetic stimulation strident and her fixation on the physical aspects of her seemingly ideal lover merely fatuous. Gleason is so winning that her very impetuousness seems a virtue: She is, rather like Falstaff, witty in herself and a cause of wit in others—or at least, in Cyrano.
The role of Christian is equally problematic. Seemingly vain, pompous, authoritarian, even cowardly, De Guiche likewise proves his mettle, with disarming honor and decency, as the play moves toward a climax. As the play progresses, these elements are gradually stripped away in a manner that is both ingenious and apt.
There is always a temptation in period drama to over-embroider, and it should be remembered that Roxane is of the middle class, not the aristocracy. Joseph Haj, who previously directed the PRC production of Not About Heroes which also starred Ray Dooleyhas directed the very large cast of Cyrano with brisk and inventive command that never calls attention to itself conceptually—not mean feat, that.
I was particularly struck by his staging of the balcony scene and the emotional climax at Arras; his placement of the actors, in relation to each other and the sentiments expressed, is masterly. My only quarrel is with some of his choices as a dramatic translator. For many decades, the preferred translation of Cyrano de Bergerac was that of Brian Hookerwhich is highly readable but scarcely actable.
Haj opts for the former, which is less problematic perhaps than his not translating the poem Cyrano extemporizes during his first act duel with Valvert.
This seems a bit perverse. Still, these are small matters overall.The Treatise is A Treatise of Human Nature: Being an Attempt to Introduce the Experimental Method of Reasoning into Moral Subjects contains Of the Understanding – An investigation into human cognition.
Important statements of Skepticism, Of the Passions – A Price: $ The first Broadway revival of Samson Raphaelson's Accent on Youth, the romantic comedy set in the world of the Broadway theatre, begins previews April 7 at the Samuel J.
Friedman Theatre. CRAFTING SHORT SCREENPLAYS THAT CONNECT THIRD EDITION This page intentionally left blank CRAFTING SHORT SCREENPLAYS THAT CONNECT THIRD . Get this from a library! The human nature of playwriting.. [Samson Raphaelson] -- The author offers a "case history" method as a means of exploring human experience, and explains the means by which such experience may be adapted to the dramatists' craft.
Samson Raphaelson was born in New York City in , a year before the Lumiere brothers held their first screenings of projected motion pictures, and three years after Edison held the first public demonstration of his prototype kinetoscope.
The playwright who once joked, “You get sinus trouble in New York,” slipped back into Manhattan life like it was an old sneaker. He produced a still-relevant how-to book, The Human Nature of Playwriting, and taught screenwriting at Columbia University from until He and Dorothy divided their time between a city apartment and a home in Bucks County, Pennsylvania.