(ōdĕts`), 1906–63, American dramatist, b. Philadelphia. After graduating from high school he became an actor and in 1931 joined the Group TheatreGroup Theatre, organization formed in New York City in 1931 by Harold Clurman, Cheryl Crawford, and Lee Strasberg. Its founders, who had worked earlier with the Provincetown Players, wished to revive and redefine American theater by establishing a permanent company to present .....Click the link for more information.. Turning his attention from acting to playwriting, Odets soon came to be regarded as the most gifted of the American naturalistic social-protest dramatists of the 1930s. His first work for the Group, Waiting for Lefty (1935), a vernacular, Marxian drama of the awakening and insurgency of the impoverished working classes, aroused immediate international attention. Awake and Sing (1935), his first full-length play and widely considered his best work, compassionately portrays the struggles and rebellion of a financially destitute Jewish-American family. Other plays include Till the Day I Die (1935), Paradise Lost (1935), Golden Boy (1937), Night Music (1939), and Clash by Night (1942). Odets spent many years in Hollywood writing film scripts, e.g., Sweet Smell of Success (1957). In his later plays he turned from social drama to self-conscious dramas of the individual, such as The Big Knife (1949), The Country Girl (1950), and The Flowering Peach (1954).
See The Time is Ripe: The 1940 Journal of Clifford Odets (1988); biographies by E. Murray (1968), G. C. Weales (1971), G. Miller (1989), and M. Brenman-Gibson (2002); studies by M. J. Mendelsohn (1969), H. Cantor (1978, repr. 2000), G. Miller, ed. (1991), and C. J. Herr (2003).
(1906–63) playwright, film director, actor; born in Philadelphia. Leaving high school to be a poet, he took up acting, appearing on the radio and in repertory theater. In 1931 he helped found the Group Theatre, which in 1935 produced his Waiting for Lefty and Awake and Sing! These plays immediately established him as a major American social realist and spokesman for the downtrodden, but he himself was soon enjoying the good life in Hollywood where he wrote screenplays and eventually turned to directing films, including None But the Lonely Heart (1949) and Wild in the Country (1961). He also continued to write a series of realistic and increasingly disillusioned dramas such as Golden Boy (1937) and The Big Knife (1949).