Pinter harold alan schneider (5 Ergebnisse)

First edition, early printing of the first American edition of Pinterâs paired plays. Octavo, original pictorial wrappers, an Evergreen Original. Alan Schneiderâs working copy, annotated in his hand: the half-title is marked âDirectorâs Copy,â with his name, telephone exchanges, and Hastings-on-Hudson return address, âPlease Return to: Alan Schneider,â and a penned directory of his production team, among them the designer William Ritman. Schneider directed the American premiere of The Dumb Waiter, on a double bill with The Collection, at the Cherry Lane Theatre in 1962, in settings by Ritman. Schneider was among the foremost American directors of his generation and the great champion of the postwar stage in the United States: he directed the American premiere of Beckettâs Waiting for Godot in 1956 and remained Beckettâs preferred American director, staged the United States premieres of Pinterâs plays from the 1962 off-Broadway double bill of The Dumb Waiter and The Collection through the Broadway premiere of The Birthday Party in 1967, and won the 1963 Tony Award for Best Direction for the original production of Albeeâs Whoâs Afraid of Virginia Woolf?ÂIn good condition. The directorâs own working copy. The Caretaker, which premiered in London in 1960 with Donald Pleasence and Alan Bates, was Harold Pinter?s first major commercial success and established him among the leading dramatists of his generation. The Dumb Waiter, his taut two-hander of hired killers awaiting instructions in a basement, premiered in Frankfurt in 1959 and reached the American stage in 1962 at the Cherry Lane Theatre under the direction of Alan Schneider. Pinter was awarded the Nobel Prize in Literature in 2005, the Swedish Academy observing that he ?uncovers the precipice under everyday prattle and forces entry into oppression?s closed rooms..…

The Grove Press revised edition of the Nobel Prize-winning playwright's modern classic. Octavo, original pictorial wrappers. Association copy, inscribed by the author on the title page, "October 1968 To Alan from Harold." Alan Schneider (1917-1984) was an American theater director of Ukrainian birth whose extraordinary career made him the foremost interpreter of the European avant-garde theater on the American stage, serving as the primary American theatrical advocate for Samuel Beckett, Edward Albee, and Harold Pinter across three decades of work that fundamentally shaped the course of serious American theater. Educated at Johns Hopkins and Cornell, Schneider forged his artistic identity through a sustained transatlantic engagement with the most challenging and formally innovative dramatists of the postwar era, and his relationship with Pinter's work was among the most productive of his career. He directed the American premiere of The Birthday Party as well as The Dumb Waiter, The Collection, and a trilogy of Pinter plays under the title Other Places, comprising One for the Road, Family Voices, and A Kind of Alaska, establishing himself as the director whose theatrical intelligence and sympathy for the ambiguities of Pinteresque drama made him the natural American counterpart to the directors who had championed Pinter's work in Britain. His productions of The Birthday Party and The Room brought to American audiences the essential qualities of Pinter's early theatrical vision â" the comedy of menace, the radical withholding of explanatory context, the menace beneath the mundane â" at a moment when the American theater establishment was only beginning to understand what Pinter was doing, and Schneider's advocacy for these works in their American premieres played a decisive role in securing Pinter's transatlantic reputation. In near fine condition. An exceptional association copy. The Birthday Party and The Room (Methuen, 1960; Grove Press, 1961) gathers Harold Pinter's first full-length play alongside the one-act drama that preceded it and inaugurated his career, and together the two works constitute the foundational documents of what critics came to call Pinteresque theater, establishing with remarkable assurance from the outset the atmospheric and formal qualities that would define his output across five subsequent decades. The Room, first produced in 1957, and The Birthday Party, first produced in 1958 and closing after only eight performances before being enthusiastically rescued by the critic Harold Hobson, share a preoccupation with domestic enclosure, the intrusion of menace into seemingly ordinary domestic or institutional settings, and the deliberate withholding of explanatory context that forces audiences to inhabit a world of radical uncertainty. The Birthday Party is classified as a comedy of menace, characterized by Pinteresque elements such as ambiguous identity, confusions of time and place, and dark political symbolism, and was subsequently adapted for the screen in a celebrated 1968 film directed by William Friedkin.…

First edition of Pinterâs late trilogy, an exceptional association copy uniting the playwright with his principal American director. Octavo, original cloth. Association copy, inscribed by the author on the title page, âTo my old friend Alan With love Harold,â with a typed poem by Pinter laid in. The recipient, Alan Schneider, staged the United States premieres of Pinterâs plays across more than two decades, from the 1962 off-Broadway double bill of The Dumb Waiter and The Collection through the Broadway premiere of The Birthday Party in 1967 to Other Places itself, which he opened on a triple bill at the Manhattan Theatre Club in April 1984. Schneider was the great American champion of the postwar European stage â" he directed the American premiere of Beckettâs Waiting for Godot in 1956 and remained Beckettâs preferred American director, and his staging of Albeeâs Whoâs Afraid of Virginia Woolf? won the 1963 Tony Award for Best Direction. Other Places stood among the final productions of his celebrated career: he died in London the following month. Fine in a fine dust jacket. An exceptional association copy. Other Places, Harold Pinter?s trilogy of one-act plays ? A Kind of Alaska, Victoria Station, and Family Voices ? premiered at the National Theatre in London in October 1982 under the direction of Peter Hall. A Kind of Alaska, widely regarded as among the finest of Pinter?s late works, was inspired by Oliver Sacks?s Awakenings and its accounts of patients revived from decades of encephalitic sleep. The American premiere followed at the Manhattan Theatre Club in 1984. Pinter was awarded the Nobel Prize in Literature in 2005, the Swedish Academy observing that he ?uncovers the precipice under everyday prattle and forces entry into oppression?s closed rooms..…

First edition of the Nobel Prize-winning playwright's modern classic, director Alan Schneider's own working copy, inscribed to him by the Nobel Prize-winning playwright. Octavo, original cloth. Association copy, inscribed by the author on the title page, "September 1961 To Alan from Harold." With Schneider's ownership signature to the front free endpaper, "Alan Schneider June 1960" and his annotations and markings throughout the text, providing fascinating insight into his vision for the production. Schneider directed the play's first Broadway production, which ran at the Booth Theatre from October 3, 1967 to January 20, 1968. James Patterson won the 1968 Tony Award for his portrayal of Stanley, and Ruth White was nominated for Best Featured Actress in a Play for her Meg. Schneider was among the foremost American directors of his generation, the American champion of Beckett, Pinter, and Albee, and his interpretation gave The Birthday Party the serious American hearing it had been denied at its origin. When the play first opened in London in 1958 it was savaged by the critics and closed within a week, only later recognized as the work that established the elliptical dialogue and atmosphere of dread now called Pinteresque. The annotations in this copy preserve the working notes by which Schneider brought that once-derided text to the American stage and secured its standing as a landmark of the modern theater. Very good in a very good dust jacket. An exceptional association copy. A rare survival, uniting the two figures most responsible for bringing the play to the American stage. The Birthday Party, Harold Pinter's first full-length play, remains among his best known and most frequently performed. It is set in a rundown boarding house run by Meg and Petey Boles in an English seaside town, probably on the south coast and not far from London, where the reclusive lodger Stanley Webber, a former piano player in his thirties, lives in obscurity. The arrival of two sinister strangers, Goldberg and McCann, who appear on the day of his supposed birthday and seem to have come in search of him, transforms the harmless celebration Meg has arranged into a nightmare of interrogation and menace.…

First edition of Pinter's collection of three plays originally written for television. Duodecimo, original cloth. A remarkable association copy, inscribed by the author in the year of publication on the title page, "May 67 To Alan With love Harold." Additionally signed by its recipient, director Alan Schneider, on the front free endpaper. Alan Schneider (1917-1984), the Russian-born American director, served as Pinter's principal interpreter on the American stage, directing the American premieres of The Birthday Party, The Collection and The Dumb Waiter (winning an Obie Award for the latter) and, at the time of his death in 1984, directing Pinter's Other Places for the Manhattan Theatre Club. He was equally celebrated as Samuel Beckett's trusted American director and as the director of Edward Albee's Who's Afraid of Virginia Woolf?, for which he won the 1963 Tony Award. The warmth of the present inscription, made in May 1967 as the two men's collaboration was flourishing, attests to the close friendship between playwright and director; though the American stage premiere of Tea Party and The Basement (New York, 1968) fell to another director, Schneider remained Pinter's foremost champion before American audiences. Very good in a very good dust jacket. An exceptional association copy, uniting one of the great postwar dramatists with the man who brought his work to the American stage. Tea Party and Other Plays (1967) gathers three works by Harold Pinter (1930-2008) that were each originally written for television, representing a significant and somewhat undervalued strand of his output in the mid-1960s during the productive period between the celebrated stage successes of The Caretaker (1960) and The Homecoming (1965). The volume includes Tea Party, The Basement, and Night School, three short plays that share an abiding preoccupation with what one critic has aptly described as invasion and loss of masculine status, the characteristic Pinteresque anxiety in which a man's control over his domestic or professional space is gradually and inexplicably eroded by forces he cannot name or resist. Tea Party, adapted by Pinter from his own 1964 short story of the same title, was first transmitted on BBC Television in March 1965 starring Leo McKern and Pinter's first wife Vivien Merchant as Wendy, with its first stage production following in October 1968 as part of a double bill with The Basement. The title play focuses on a successful businessman whose grasp on reality and sexual self-possession progressively disintegrates during the course of the professional and domestic encounters that constitute the narrative, deploying the television medium's capacity for subjective point-of-view cinematography to render the protagonist's deteriorating perception in visual terms that the stage could only approximate.…