Read the accompanying article “Stella Adler scholar explores acting master’s interpretation of great American playwrights” to see how Barry Paris used the Ransom Center’s Stella Adler archive to research his book.
Stella Adler’s teaching notes for the role of Amanda Wingfield in Tennessee Williams’ “The Glass Menagerie.” Stella used these notes in a 1974 class in Script Interpretation at the Stella Adler Conservatory.
Stella Adler. This publicity photograph was probably taken in 1937, the year Stella’s first film “Love On Toast” was released.
Cover of “Stella Adler on America’s Master Playwrights” (Knopf) by Barry Paris.
Richard Brody reviews “Gangster Squad,” and looks at the fake cinema of the season:
In all four films [“Gangster Squad,” “Zero Dark Thirty,” “Argo,” and “Amour”] the question of knowledge arises: what does the filmmaker know of his situations, his characters (and it doesn’t matter whether the subject at hand is historical or utterly fictitious), and what, in the “telling,” makes for an authentic experience? The short answer: none of the above. In all four, for different reasons, the filmmakers foreclose the characters, clamp down the implications, filter out the context, and thereby fake the results. These films may be the subject of discussion now but will end up on the scrap heap of cinematic history.
Continue reading: http://nyr.kr/WImkJf
Photograph: Warner Bros.
That last sentence is a bit too strident IMHO, but I can definitely see where he’s coming from with this.