Harold Clurman


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Clurman, Harold

 

Born Sept. 18, 1901, in New York. American theater director and critic.

Clurman studied directing at the American Laboratory Theater in New York. He joined the Greenwich Village Playhouse in 1924 and worked for the Guild Theater from 1925 to 1931.

Clurman was a founding member of the Group Theater, the leading US theater of the 1930’s (1931–41). It developed a national American school of acting following the principles formulated by Stanislavsky. Clurman’s most significant work there was the production of plays by C. Odets. After the Group Theater closed, Clurman directed for the Broadway theater (for example, Simonov’s Russian People, 1945). He devoted much attention to new American and foreign dramatic works. In 1963–64, Clurman was a consultant to the Repertory Theater of Lincoln Center. In the postwar years Clurman frequently contributed drama criticism to various US and British periodicals. His articles and essays were published under the title Lies Like Truth.

WORKS

Lies Like Truth. New York, 1958.

K. A. GLADYSHEVA

References in periodicals archive ?
He trained in Europe and America with the major teachers of drama of the twentieth century, among them: Stella Adler, Lee Strasberg, Harold Clurman, and Sanford Meisner.
Torelle compares the play to a quote from influential theater director Harold Clurman: "The truth is like castor oil, it is bitter to swallow and people don't want it; therefore, you make them laugh and when their mouths are open, you pour it in."
Later, as a cofounder of the Aspen Playwrights Conference, Carmichael basked in the presence of the troupe's critic-in-residence, Group Theatre icon Harold Clurman. "We couldn't believe our luck that he said yes when he asked him," marvels Carmichael, who says he largely gave up early dreams of playwriting when he discovered another calling.
Staged by Harold Clurman for the Lincoln Center, Incident at Vichy was not a great critical or commercial success.
It prevents her from consulting the left-wing magazines Theatre Workshop, which provided translations of Soviet writing on acting and directing, and New Theatre, in which the Russian impressions of Hallie Flanagan and Harold Clurman were published.
Adorno, Brecht, Charlie Chaplin, Harold Clurman, Jules Dassin, William Dieterle, Max Horkheimer, Herb Kline, Fritz Lang, Odets, Max Reinhardt, Jean Renoir, and Schoenberg.
Harold Clurman writes as follows, "Shortly after this debut he engaged in semi-political journalism and wrote theatre criticism.
Jones and Gillis, the Harold Clurman Center for New Works in Movement and Dance Theater (MAD) is now making its mark in the dance world.
And when Harold Clurman refers to the kind of theater that makes people better people for having seen it, it's the kind where integrity and truth break through all the dark clouds and shine down on us and inspire us to keep going.
Returning to New York, he worked in Off Off-Broadway theater and studied directing with Harold Clurman and acting with Sandy Meisner and Lee Strasberg.
He was inspired by the New Deal and the Popular Front culture of the era--the WPA, the Group Theatre (he wrote in The Nation that when he graduated from college, "the luckiest fate I could have imagined would have been to have a play of mine produced by the Group Theatre and directed by Harold Clurman").