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831:", a pragmatic yet rebellious servant both defying God and ironically yielding to him. As one reviewer put it, Jonah has "the dilemma of the modern moralist who finds his message diluted by ready and uncritical acceptance and whose act of rebellion is rendered impotent by a public which embraces novelty in any form", making the rebel into a kind of clown. One critic would note autobiographical allusions between Goodman (the playwright and prominent social gadfly) and his character Jonah.
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332:, Goodman became a close and influential friend, introducing Malina and Beck to anarchism prior to their founding of their Living Theatre. Goodman described himself as "a kind of company psychiatrist" for the theater company, for which he also wrote plays that the theater considered among the American vanguard. In turn, Goodman wrote in defense of the Living Theatre. Director
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566:, follows a pseudobiblical plot in which a community attempts to interpret a "miraculous event" that is never specifically explained but comes to interfere with their daily lives and hampers their creativity. The play explores blocked psychological development and the natural human capacity to act freely, as Goodman later expressed in
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play, this manifested as emotional outbursts, crawling on the ground while "making night noises, strange husky grating and chirping sounds", heavy breathing, vomiting, dancing, and trembling. In the week before the show's opening, New York police questioned cast members and inferred that the play's content could be deemed
534:, who played Faustina, struggled to give the closing, spontaneous monologue. On opening night, her speech consisted of her annoyance at the prompt, which she considered pretentious. Goodman approved of her authenticity. After Bovasso quit the production, another cast member gave the speech instead. Similar calls to
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as their loft period's high point, it proved unpopular upon its
October 1955 opening, as affronted audiences reacted to its charged contents in disgust, annoyance, terror, awe, and excitement, according to Beck. Beck now believed that the Living Theatre had become too arty and focused on its artistic
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and music by Ned Rorem. Beck, the play's director, designed a set of painted collages on corrugated cardboard. Personal issues again complicated the production, as Beck sought to please
Goodman by producing the play but was privately insecure as to whether Goodman liked him. The play itself, as the
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put it, was a "fulfillment of
Goodman's own Socratic fantasy ... that he could advise youth on how to live in a disintegrating universe". Goodman saw his role as liberating the audience from an unspecific societal influence that alienated them from their personhood and made them obedient. In this
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Beck began directing and rehearsing the play during early 1959. The production included music by Ned Rorem and choreography by Merce
Cunningham. The Living Theatre rehearsed the work for ten weeks. The production was marred by delays, threats of bankruptcy, and other technical issues. The Living
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achieved the author's intentions but even then, the form did not adapt well outside of its original language and tradition. He also judged
Goodman's diction as generally flat and humor as informal. The other three "failures", wrote Fitts, portrayed their protagonist (the Object of Awareness) as
154:
While his fiction and poetry received some critical response, he was largely unrecognized as a litterateur, apart from a coterie of admirers. Most of his 18 published works for the stage were staged by his immediate circle. His difficult personality and unrefined style hindered his literary
151:. Across all of his works, he said he had one subject, "the organism and the environment", and one common, pragmatic aim, that his writing should effect a change. Up to the 1950s, he wrote literary avant-garde fiction, poetry, and theater, typically experimental.
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considered the play inconsistent, showing short-lived charm and imagination. Critics noted issues issues with
Goodman's dialogue, including unsuccessful comedy and dramatization, poorly executed satire, and overused resignation humor of shrugs and mumbles.
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of its impending destruction. Jonah dallies and ends up inside a whale on a sea voyage. He escapes and completes his task, and the citizens of
Nineveh repent and save the city. Feeling fooled, Jonah reprimands God, who imparts a lesson of forbearance.
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themes. Faustina falls in love with the gladiator Galba, who is killed in a ritual ceremony to ease her jealousy. The play ends with the scenery collapsing, representing the fall of Roman civilization. In a closing monologue, Faustina
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wrote that
Goodman got "lost in his dramatic structure" through the middle of the play, as if he lost interest, and despite some moments of majesty and inspiration ultimately did not accomplish the ideals Goodman had intended.
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The show opened in late May 1952 to mediocre reviews and scarce attendance. Critics considered Beck's collaged set design to be a highlight. They considered
Goodman's writing and the troupe's acting to be less effective. A
906:. He called them "Cubist" due to his intention of abstracting the plays' plots from their structures, so that individual characters became archetypal embodiments of types of plots. The first three plays reference Greek
546:
reviewer described the first act of the Living
Theatre production as "numb". Though the show continued through mid-June, Bovasso left after several performances. As Beck put it, the production was "humiliating agony".
815:. As a "musical experiment in the dramatic field", Kupferman's score played throughout the performance, either as a focal song or dance, or as background music. The performance's 30 cast members, which included
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magazine review, praised the originality of the Cubist plays as "modern lyric-contemplative poems in dramatic guise" and said that their emotional saturation and immediacy belied their intellectual pretext.
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reputation. This dissatisfaction from lack of audience in the 1950s is what drew him to social criticism in the 1960s, where he found success, leaving behind his literary ambitions for the limelight.
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loft in June 1949. Malina and Beck attended. Their Living Theatre would produce the show three years later, in May 1952, in New York's Cherry Lane Theatre. Goodman published a revised edition in the
203:—respectively as a traveler (the "Audience"), a spirit (the idea of the poem or "Object of Awareness"), and the chorus (the "Mind of the Poet Himself" interpreting between the other two characters).
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Staged in an Upper West Side loft, the production came during an artistic period of the Living Theatre in which they did not advertise, charge admission, or invite critics. Despite Beck considering
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called Goodman's assortment of styles and purposes "self-indulgent" and "confused". Goodman's attempt to convert the Book of Jonah into a modern parable was incomplete, continued
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sessions with Goodman had turned into an affair, sometimes delaying rehearsals. The Living Theatre's production was hurt by its actors lack of faith in its ending, in which
865:, with the prophet-hero lacking clear purpose and forced to convey Goodman's oversimplistic maxim that comic outsiders are society's sole truth-speakers. Critics compared
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at the end of June 1959 at their Sixth Avenue & 14th Street theater. It flopped, closing in July after seven performances. Malina was uncomfortable in her role as
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would feature in the troupe's performances by the end of the 1960s, but Beck himself later came to consider this specific monologue prompt insulting to the audience.
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Originally written by Goodman in 1941, he pressed the theatre in early 1955 to produce it. By mid-year, Beck began to cast and stage the play with choreography by
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and Beck felt that the other actors could not match the play's complexity. Critics panned the play as being moralistic, too philosophical, and untheatrical. Its
3173:
2469:
2134:): "The first act is pretty hopeless" ... "is hardly worth the effort" ... "if you like this sort of thing, well, this is the sort of thing you like."
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2144:): "its latest play ... falls short of the mark despite its high aims", "It founders under the weight of bright ideas dimly realized." "Goodman's
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to chastize the audience for not having risen onto the stage to prevent Galba's murder, or to express any other spontaneous thought of the actor.
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years (1948–1950), which went unpublished and unproduced. Jackson Mac Low and the "Prester John's Company" planned a production of Goodman's
952:. The plays consist of a range of style and diction, including both the high style of the period as well as contemporaneous colloquialisms.
3154:
343:, they held their first show in their living room over a week in late August 1951. Among their five-play program was Goodman's short farce
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in 1966. His lack of recognition as a litterateur in the 1950s helped drive him to his successful career in social criticism in the 1960s.
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in December 1941. It was Goodman's first book, and included an essay on the art form by Goodman and illustrations by his brother,
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2470:"Theater: Paul Goodman Examines Story of Jonah; Sorrell Booke Starred in the Title Role Work Appears Partly Autobiographical"
456:
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2271:
A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, or Involving African Americans
689:
reviewer found it hard to follow, apart from its love triangle between Abraham, his wife Sarah, and her handmaiden slave
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said Goodman's plays were among the first to incorporate non-linguistic elements, such as screams and other sounds.
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41:. Their professional productions were either unsuccessful or flopped, including the three productions staged with
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rehearsals resumed in April and were complicated as the theater bled into their personal lives, including a
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963:) when he received his humanities Ph.D. He initially published the first three plays in early 1950 in the
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349:. The production's sets and invitations were primitive and the 20-person seating arrangements intimate.
257:, however, moved Fitts, and in his opinion successfully integrated Goodman's idea, symbol, and diction.
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is a beached whale, victim of its author's self-indulgence and confused medley of styles and purposes."
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considered Goodman's conceit clever and strategic but found that his themes did not neatly resolve.
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plays" to demonstrate his theory of literary structure from his 1954 book of literary criticism,
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42:
139:'s writing career was prolific and heterogeneous. Though primarily known for his 1960s works of
37:, including some 18 works for the stage. His plays, mostly written in the 1940s, were typically
728:, subtitled "a biblical comedy with Jewish jokes culled far and wide", focuses on the biblical
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to put on as one of their first three shows in the Cherry Lane Theatre, staged around the 1951
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2302:(2017). "Poetic Tension: The Aesthetic Politics of the Living Theatre". In Goyens, Tom (ed.).
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2339:"Poetic Tension, Aesthetic Cruelty: Paul Goodman, Antonin Artaud, and the Living Theatre"
2110:): "It adds up to what may be called a non-wasted evening, rather than satisfactory one."
499:, which sold out and flopped, respectively. A set of sullen January 1952 rehearsals for
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325:
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2520:
Intellectuals in Action: The Origins of the New Left and Radical Liberalism, 1945–1970
2331:
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922:. Goodman's plays were meant to address structural elements of each: the austerity of
3247:
2854:"Music and Drama to Meld in 'Jonah'; American Place Theater to Give Play in February"
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2305:
Radical Gotham: Anarchism in New York City from Schwab's Saloon to Occupy Wall Street
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2013:
The first opera I wrote, Jonah, was written , and has actually never been performed.
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it. Both his anarcho-pacifism and his literary experimentalism made the editors at
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30:
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2571:
Adam and His Work: A Bibliography of Sources by and about Paul Goodman (1911–1972)
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665:(1958), Ishmael and Isaac arrange to bury Abraham. The third act was published in
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2008:
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had been published separately in a periodical two months prior to the book, and
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57:
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embraced avant-garde literary innovation on an intellectual level, but Goodman
2635:(February 26, 1966). "The Theatre: Off Broadway Sodden Romp (Rev. of Jonah)".
1452:
Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement
1021:, Prester John's Company (Jackson Mac Low), New York City, June 1950, presumed
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645:. Completed in 1958, Goodman called this trilogy "The Abraham Plays". Act I,
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2677:
2624:
1987:
Duffie, Bruce (December 2015). "Historic Interviews: composer Jack Beeson".
931:
927:
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907:
828:
286:
2589:
2457:
2313:
799:, ran for 24 performances. It was directed by Lawrence Kornfeld, scored by
2547:"Fails to Dig Contents of Downtown 'Cave' (Rev. of The Cave at Machpelah)"
2496:
Master Minds: Portraits of Contemporary American Artists and Intellectuals
2438:
2503:
420:
144:
77:
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635:, man's relationship with God, and the issue of "faith" as discussed in
1033:, The Living Theatre, Cherry Lane Theatre, New York City, May–June 1952
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93:
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The theoretical basis of the plays came from Goodman's dissertation,
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community rather than on the theatre itself. Goodman later published
511:
339:
As Malina and Beck prepared to open The Living Theatre in New York's
305:
113:
2516:"Paul Goodman, Anarchist Reformer: The Politics of Decentralization"
967:. They were revised and republished in a small print run in 1970 as
2405:"Off-Broadway: Bible Tale; 'Cave at Machpelah' Is Story of Abraham"
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729:
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composed its music. The Noh plays were later staged at New York's
127:
105:
2660:
Contemporary Jewish-American Novelists: A Bio-critical Sourcebook
522:
between Malina, Goodman, and a lover of Malina's who appeared in
206:
His friend's small press, 5x8 Press, published the collection as
163:
In what he intended to be an American adaptation of the Japanese
2361:(April 25, 1942). "Questions and Gambols (Rev. of Stop-Light)".
959:, which he finished in 1940, but did not publish until 1954 (as
748:
Goodman first published the play in his 1945 fiction collection
2879:
2875:
827:. Jonah is played as a stereotypical Jewish elder "philosopher-
503:
led to its production's postponement. Beck continued to design
191:. In his adaptation, he portrayed the three Noh characters—the
811:. The production reproduced much of the literal detail of the
768:
for June 1950. Goodman revised the play in 1955 and reprinted
164:
61:
1908:
Music and Musical Composition at the American Academy in Rome
1367:
1365:
998:, The Poets' Theater, New York City Upper East Side, May 1948
238:, contemporaneously reviewing the five American Noh plays in
29:
Prior to his career in social criticism, the American writer
1860:
1858:
1856:
1112:
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627:. Goodman used the play to explore the combined origins of
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plays" with abstracted plot elements, meant to demonstrate
2154:, p. 74: "The entire business was effete, amateurish"
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with funds from a successful program of bohemian theater.
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2446:
Hochman, Baruch (March 7, 1966). "A Whale of a Jonah".
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253:"either a dismal truism ... or a downright silliness".
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For two decades, beginning in 1935, Goodman worked on
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460:(1961) and further revised for publication among his
2494:(1969). "Paul Goodman: Persistence and Prevalence".
2179:
2177:
1843:
1841:
1146:, p. 105: "In certain ways, the editors of the
143:, Goodman primarily thought of himself as an artist–
2717:"The Theatre: Make Mine Hashish (Rev. of Faustina)"
2124:, it is my sad duty to report, is a slovenly bore."
1222:
1220:
1045:, The Living Theatre, New York City, June–July 1959
112:, with Jewish cultural jokes; and a collection of "
2827:
2308:. University of Illinois Press. pp. 142–160.
1937:The Metropolitan Opera Stories of the Great Operas
1904:"A History of the Rome Prize in Music Composition"
942:, though a review said it had more in common with
846:described an "untheatrical ... slovenly bore" and
649:(1935), is a poetic retelling of the sacrifice of
316:Goodman's interest in theater developed alongside
1055:, Judson Poets' Theatre, New York City, July 1963
1039:, The Living Theatre, New York City, October 1955
2522:. Penn State University Press. pp. 97–144.
1027:, The Living Theatre, New York City, August 1951
780:produced the play in February 1966 as a two-act
661:quarrel with the Angel of the Lord. In Act III,
1963:Greene's Biographical Encyclopedia of Composers
795:The 1966 American Place Theatre production, in
132:Goodman during the late 1940s, his literary era
2694:. Vol. 119, no. 2. pp. 99–104.
1342:Clarkson, Petruska; Mackewn, Jennifer (1993).
2891:
2766:Twentieth-Century American Cultural Theorists
2599:"Adam and His Work: A Bibliographical Update"
2431:A Theater Divided: The Postwar American Stage
2382:"Poems Real and Surreal (Rev. of Stop-Light)"
171:plays, or what Goodman called "dance poems":
8:
2641:. Vol. 42, no. 1. pp. 71–72.
2603:Artist of the Actual: Essays on Paul Goodman
1015:, New York City East Village loft, June 1949
740:tells a reluctant Jonah to warn the city of
2801:The Living Theatre: Art, Exile, and Outrage
2390:. Vol. 106, no. 11. p. 371.
1371:
1337:
1335:
1295:
1259:
1116:
938:, follows tragic nobility, referencing the
926:, the ironic and psychological elements of
2898:
2884:
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2747:. Vol. 83, no. 23. p. 699.
2658:. In Shatzky, Joel; Taub, Michael (eds.).
2343:Anarchist Developments in Cultural Studies
1939:. W. W. Norton & Company. p. 20.
2367:. Vol. 25, no. 17. p. 13.
2200:
2151:
2103:
1889:
1320:. Vol. 15, no. 5. p. 595.
803:, with scenic design and choreography by
653:and the test of Abraham's faith. Act II,
587:. They ultimately did not stop the show.
1455:. University of Michigan Press. p.
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969:Tragedy & Comedy: Four Cubist Plays
930:, and the existential pain and fate in
714:Goodman in the late 1960s, around when
328:. After being introduced by playwright
3036:Utopian Essays and Practical Proposals
2252:
2240:
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467:The Living Theatre selected Goodman's
2662:. Greenwood Press. pp. 128–139.
2380:Frankenberg, Lloyd (March 16, 1942).
2183:
2127:
1847:
1255:
1226:
1101:
1075:Theater, New York City, December 1990
916:Structure of Tragedy, after Sophocles
912:Structure of Tragedy, after Aeschylus
823:, spoke in a Yiddish accent and used
266:The New York Poets' Theater produced
7:
3155:Little Prayers and Finite Experience
1910:. Boydell & Brewer. p. 51.
1065:, New York City, February–March 1966
920:Structure of Pathos, after Euripides
872:approach with other modern takes on
2772:. Vol. 246. pp. 177–189.
896:Goodman wrote and published four "
224:would be revised and published in
25:
2715:Shanley, Jack P. (May 26, 1952).
2688:(1971). "Plastic Possibilities".
2545:McHarry, Charles (July 1, 1959).
2433:. Little, Brown. pp. 73–74.
2364:The Saturday Review of Literature
2265:Peterson, Bernard L. Jr. (1993).
756:worked the play into a three-act
446:with no stage to a full house in
241:The Saturday Review of Literature
3231:
3219:
3207:
3195:
2770:Dictionary of Literary Biography
2273:. Greenwood Press. p. 202.
2031:Off Broadway Musicals, 1910–2007
1025:Childish Jokes: Crying Backstage
788:stylings of his contemporaneous
486:Doctor Faustus Lights the Lights
372:
363:
346:Childish Jokes: Crying Backstage
118:his theory of literary structure
66:Childish Jokes: Crying Backstage
2741:(March 18, 1966). "The Stage".
2498:. Macmillan. pp. 270–288.
2027:"Jonah (Meyer Kupferman; 1966)"
790:Jewish culture in New York City
722:Originally written circa 1942,
562:, a free interpretation of the
84:, a free interpretation of the
965:Quarterly Review of Literature
834:Critics responded negatively.
457:Quarterly Review of Literature
393:before quitting the production
1:
3174:Works edited by Taylor Stoehr
3066:The Society I Live in Is Mine
2403:Funke, Lewis (July 1, 1959).
797:Hell's Kitchen, New York City
413:, and reflects on Aurelius's
167:art form, Goodman wrote five
104:, a comedy based on biblical
2834:. Twayne. pp. 132–136.
2605:. Scarecrow Press. pp.
2452:. Vol. 33. p. 19.
1960:Greene, David Mason (1985).
1449:Bottoms, Stephen J. (2004).
957:The Formal Analysis of Poems
940:17th-century French satirist
409:, the wife of Roman Emperor
60:adaptations of the Japanese
3126:The Politics of Being Queer
3006:The Structure of Literature
961:The Structure of Literature
903:The Structure of Literature
3275:
2601:. In Parisi, Peter (ed.).
2033:. McFarland. p. 233.
1069:Stop-Light: Five Noh Plays
936:Little Hero, after Molière
778:The American Place Theatre
289:composed its music, while
47:The American Place Theatre
45:in the 1950s and one with
18:Stop-Light: Five Noh Plays
3116:Like a Conquered Province
3046:The Community of Scholars
2949:
2913:
2764:. In Hansom, Paul (ed.).
2760:Smith, Ernest J. (2001).
1966:. Collins. p. 1292.
1931:Freeman, John W. (1984).
619:, a verse drama based on
92:, a verse drama based on
33:had a prolific career in
3254:American plays by writer
2654:Rogoff, Leonard (1997).
2336:Previously published as
479:followed productions of
52:Goodman's plays include
3086:Compulsory Miseducation
772:in his 1965 collection
734:escaping from the whale
110:escaping from the whale
72:, telling the story of
2332:10.5406/j.ctv4ncnpj.10
2314:10.5406/j.ctv4ncnpj.10
1902:Brody, Martin (2014).
1063:American Place Theater
719:
639:'s philosophical work
426:breaks the fourth wall
133:
35:avant-garde literature
3259:Works by Paul Goodman
3145:Speaking and Language
2468:(February 16, 1966).
1439:, pp. 46, 82–83.
1348:. Sage. p. 192.
1043:The Cave at Machpelah
713:
677:The Cave at Machpelah
663:The Cave at Machpelah
616:The Cave at Machpelah
608:The Cave at Machpelah
246:The Three Disciplines
181:The Three Disciplines
131:
90:The Cave at Machpelah
2852:(December 8, 1965).
2568:Nicely, Tom (1979).
2492:Kostelanetz, Richard
1312:"The Poets' Theater"
570:on Gestalt therapy.
496:Beyond the Mountains
407:Faustina the Younger
387:Faustina the Younger
274:in May 1948. Artist
74:Faustina the Younger
3096:People or Personnel
2574:. Scarecrow Press.
2552:New York Daily News
2345:(1 & 2). 2015.
2227:, pp. 46, 148.
2025:Dietz, Dan (2010).
1867:, pp. 32, 104.
1747:, pp. 153–154.
1152:lived and practiced
1008:and members of the
934:. The fourth play,
879:The Flowering Peach
686:New York Daily News
435:and members of the
341:Cherry Lane Theatre
2859:The New York Times
2722:The New York Times
2538:10.5325/j.ctt7v4k3
2475:The New York Times
2466:Kauffmann, Stanley
2449:Congress Bi-Weekly
2410:The New York Times
2142:Congress Bi-Weekly
2108:The New York Times
1037:The Young Disciple
885:The Green Pastures
863:Congress Bi-Weekly
858:Congress Bi-Weekly
852:The New York Times
720:
696:The New York Times
642:Fear and Trembling
625:sacrifice of Isaac
597:The Young Disciple
592:The Young Disciple
559:The Young Disciple
552:The Young Disciple
330:Tennessee Williams
312:The Living Theatre
244:, wrote that only
230:Theatre Experiment
228:'s 1967 anthology
134:
98:sacrifice of Isaac
82:The Young Disciple
56:, a collection of
43:The Living Theatre
3183:
3182:
3056:The Lordly Hudson
3026:Growing Up Absurd
2811:978-0-8021-1558-4
2669:978-0-313-29462-4
2616:978-0-8108-1843-9
2581:978-0-8108-1219-2
2529:978-0-271-05428-5
2427:Gottfried, Martin
2323:978-0-252-04105-1
2280:978-0-313-06454-8
2040:978-0-7864-5731-1
1973:978-0-00-434363-1
1946:978-0-393-04051-7
1917:978-1-58046-245-7
1632:, pp. 83–84.
1605:, pp. 25–26.
1576:, pp. 79–83.
1564:, pp. 76–78.
1466:978-0-472-02221-2
1398:, pp. 55–56.
1355:978-1-4462-2456-4
1246:, pp. 20–23.
1053:Hagar and Ishmael
986:Known productions
848:Stanley Kauffmann
750:The Facts of Life
738:Angel of the Lord
655:Hagar and Ishmael
647:Abraham and Isaac
450:'s New York City
448:Robert Motherwell
431:Written in 1948,
334:Lawrence Kornfeld
308:Theater in 1990.
291:Costantino Nivola
68:, a short farce;
16:(Redirected from
3266:
3236:
3235:
3234:
3224:
3223:
3212:
3211:
3200:
3199:
3198:
3191:
3176:
3169:
3159:
3149:
3139:
3129:
3120:
3110:
3100:
3090:
3080:
3070:
3060:
3050:
3040:
3030:
3020:
3010:
3000:
2990:
2980:
2970:
2960:
2956:The May Pamphlet
2942:
2935:
2928:
2921:
2900:
2893:
2886:
2877:
2871:
2845:
2833:
2824:"Playing Around"
2820:Widmer, Kingsley
2815:
2791:
2756:
2734:
2711:
2686:Rosenthal, M. L.
2681:
2650:
2628:
2597:— (1986).
2593:
2564:
2541:
2507:
2487:
2461:
2442:
2422:
2399:
2387:The New Republic
2376:
2354:
2335:
2285:
2284:
2262:
2256:
2250:
2244:
2234:
2228:
2222:
2216:
2210:
2204:
2198:
2187:
2181:
2172:
2166:
2157:
2099:
2093:
2087:
2076:
2070:
2057:
2051:
2045:
2044:
2022:
2016:
2015:
1984:
1978:
1977:
1957:
1951:
1950:
1928:
1922:
1921:
1899:
1893:
1887:
1868:
1862:
1851:
1845:
1836:
1830:
1824:
1818:
1812:
1802:
1796:
1790:
1784:
1778:
1767:
1761:
1748:
1742:
1736:
1730:
1724:
1718:
1712:
1706:
1700:
1694:
1688:
1682:
1671:
1665:
1654:
1648:
1633:
1627:
1618:
1612:
1606:
1600:
1594:
1588:
1577:
1571:
1565:
1559:
1553:
1547:
1536:
1530:
1521:
1515:
1502:
1496:
1490:
1484:
1471:
1470:
1446:
1440:
1434:
1428:
1422:
1411:
1405:
1399:
1393:
1387:
1381:
1375:
1372:Kostelanetz 1969
1369:
1360:
1359:
1339:
1330:
1329:
1308:
1299:
1296:Frankenberg 1942
1293:
1287:
1281:
1275:
1269:
1263:
1260:Frankenberg 1942
1253:
1247:
1241:
1230:
1224:
1215:
1209:
1203:
1197:
1188:
1182:
1171:
1165:
1159:
1141:
1135:
1129:
1120:
1117:Kostelanetz 1969
1114:
1105:
1099:
876:themes, such as
871:
842:
807:and lighting by
575:Merce Cunningham
509:
376:
367:
299:
284:
260:The New Republic
226:Michael Benedikt
141:social criticism
21:
3274:
3273:
3269:
3268:
3267:
3265:
3264:
3263:
3244:
3243:
3242:
3232:
3230:
3218:
3206:
3196:
3194:
3186:
3184:
3179:
3172:
3165:Collected Poems
3162:
3152:
3142:
3135:New Reformation
3132:
3123:
3113:
3103:
3093:
3083:
3073:
3063:
3053:
3043:
3033:
3023:
3016:The Empire City
3013:
3003:
2993:
2986:Gestalt Therapy
2983:
2973:
2963:
2953:
2945:
2938:
2931:
2924:
2917:
2909:
2904:
2874:
2848:
2842:
2818:
2812:
2804:. Grove Press.
2794:
2788:MZRHFV506143794
2780:
2759:
2737:
2714:
2684:
2670:
2653:
2631:
2617:
2596:
2582:
2567:
2544:
2530:
2510:
2490:
2464:
2445:
2425:
2402:
2379:
2357:
2337:
2324:
2298:
2294:
2289:
2288:
2281:
2264:
2263:
2259:
2251:
2247:
2235:
2231:
2223:
2219:
2211:
2207:
2199:
2190:
2182:
2175:
2167:
2160:
2100:
2096:
2088:
2079:
2071:
2060:
2052:
2048:
2041:
2024:
2023:
2019:
1986:
1985:
1981:
1974:
1959:
1958:
1954:
1947:
1930:
1929:
1925:
1918:
1901:
1900:
1896:
1888:
1871:
1863:
1854:
1846:
1839:
1831:
1827:
1819:
1815:
1807:, p. 143;
1803:
1799:
1791:
1787:
1779:
1770:
1762:
1751:
1743:
1739:
1731:
1727:
1719:
1715:
1707:
1703:
1695:
1691:
1683:
1674:
1666:
1657:
1649:
1636:
1628:
1621:
1613:
1609:
1601:
1597:
1589:
1580:
1572:
1568:
1560:
1556:
1548:
1539:
1531:
1524:
1516:
1505:
1497:
1493:
1485:
1474:
1467:
1448:
1447:
1443:
1435:
1431:
1423:
1414:
1406:
1402:
1394:
1390:
1382:
1378:
1370:
1363:
1356:
1341:
1340:
1333:
1317:Partisan Review
1310:
1309:
1302:
1294:
1290:
1282:
1278:
1270:
1266:
1254:
1250:
1242:
1233:
1225:
1218:
1210:
1206:
1198:
1191:
1183:
1174:
1166:
1162:
1156:Partisan Review
1148:Partisan Review
1142:
1138:
1130:
1123:
1115:
1108:
1100:
1087:
1082:
1006:Jackson Mac Low
988:
973:Macha Rosenthal
894:
869:
840:
801:Meyer Kupferman
708:
675:Theatre opened
671:in June 1958.
611:
555:
528:Gestalt therapy
507:
491:Kenneth Rexroth
442:first produced
433:Jackson Mac Low
411:Marcus Aurelius
397:
396:
395:
394:
379:
378:
377:
369:
368:
357:
314:
297:
282:
161:
126:
23:
22:
15:
12:
11:
5:
3272:
3270:
3262:
3261:
3256:
3246:
3245:
3241:
3240:
3228:
3216:
3204:
3181:
3180:
3178:
3177:
3170:
3160:
3150:
3140:
3130:
3121:
3111:
3101:
3091:
3081:
3071:
3061:
3051:
3041:
3031:
3021:
3011:
3001:
2991:
2981:
2971:
2966:Kafka's Prayer
2961:
2950:
2947:
2946:
2944:
2943:
2936:
2929:
2922:
2914:
2911:
2910:
2905:
2903:
2902:
2895:
2888:
2880:
2873:
2872:
2862:. p. 56.
2846:
2840:
2816:
2810:
2792:
2778:
2762:"Paul Goodman"
2757:
2739:Sheed, Wilfrid
2735:
2712:
2682:
2668:
2656:"Paul Goodman"
2651:
2638:The New Yorker
2629:
2615:
2594:
2580:
2565:
2555:. p. 64.
2542:
2528:
2512:Mattson, Kevin
2508:
2488:
2478:. p. 52.
2462:
2443:
2423:
2400:
2377:
2355:
2322:
2300:Antliff, Allan
2295:
2293:
2290:
2287:
2286:
2279:
2257:
2255:, p. 349.
2245:
2243:, p. 156.
2239:, p. 71;
2229:
2217:
2205:
2201:Rosenthal 1971
2188:
2173:
2158:
2156:
2155:
2152:Gottfried 1968
2149:
2135:
2125:
2118:The New Yorker
2111:
2104:Kauffmann 1966
2094:
2077:
2058:
2056:, p. 250.
2046:
2039:
2017:
1979:
1972:
1952:
1945:
1923:
1916:
1894:
1890:Kauffmann 1966
1869:
1852:
1837:
1835:, p. 153.
1825:
1813:
1811:, p. 136.
1797:
1795:, p. 143.
1785:
1768:
1766:, p. 154.
1749:
1737:
1735:, p. 118.
1725:
1723:, p. 182.
1713:
1711:, p. 117.
1701:
1699:, p. 112.
1689:
1687:, p. 148.
1672:
1670:, p. 147.
1655:
1653:, p. 119.
1634:
1619:
1607:
1595:
1578:
1566:
1554:
1552:, p. 249.
1537:
1522:
1520:, p. 261.
1503:
1491:
1489:, p. 104.
1472:
1465:
1441:
1429:
1412:
1400:
1388:
1376:
1374:, p. 284.
1361:
1354:
1331:
1300:
1288:
1276:
1264:
1248:
1231:
1216:
1214:, p. 132.
1204:
1202:, p. 111.
1189:
1187:, p. 136.
1172:
1170:, p. 135.
1160:
1136:
1134:, p. 110.
1121:
1119:, p. 271.
1106:
1104:, p. 178.
1084:
1083:
1081:
1078:
1077:
1076:
1066:
1056:
1046:
1040:
1034:
1028:
1022:
1016:
999:
987:
984:
893:
890:
837:The New Yorker
758:opera libretto
732:'s life after
707:
702:
633:Jewish peoples
610:
605:
564:Gospel of Mark
554:
549:
544:New York Times
526:. The lover's
481:Gertrude Stein
473:holiday season
381:
380:
371:
370:
362:
361:
360:
359:
358:
356:
351:
326:Living Theatre
313:
310:
255:The Stop Light
250:The Stop Light
189:The Stop Light
160:
157:
149:man of letters
125:
122:
108:'s life after
86:Gospel of Mark
24:
14:
13:
10:
9:
6:
4:
3:
2:
3271:
3260:
3257:
3255:
3252:
3251:
3249:
3239:
3238:United States
3229:
3227:
3222:
3217:
3215:
3210:
3205:
3203:
3193:
3189:
3175:
3171:
3167:
3166:
3161:
3157:
3156:
3151:
3147:
3146:
3141:
3137:
3136:
3131:
3127:
3122:
3118:
3117:
3112:
3108:
3107:
3102:
3098:
3097:
3092:
3088:
3087:
3082:
3078:
3077:
3072:
3068:
3067:
3062:
3058:
3057:
3052:
3048:
3047:
3042:
3038:
3037:
3032:
3028:
3027:
3022:
3018:
3017:
3012:
3008:
3007:
3002:
2998:
2997:
2992:
2988:
2987:
2982:
2978:
2977:
2972:
2968:
2967:
2962:
2958:
2957:
2952:
2951:
2948:
2941:
2937:
2934:
2930:
2927:
2923:
2920:
2916:
2915:
2912:
2908:
2901:
2896:
2894:
2889:
2887:
2882:
2881:
2878:
2869:
2865:
2861:
2860:
2855:
2851:
2847:
2843:
2841:0-8057-7292-8
2837:
2832:
2831:
2825:
2821:
2817:
2813:
2807:
2803:
2802:
2797:
2793:
2789:
2785:
2781:
2779:0-7876-4663-6
2775:
2771:
2767:
2763:
2758:
2754:
2750:
2746:
2745:
2740:
2736:
2732:
2728:
2724:
2723:
2718:
2713:
2709:
2705:
2701:
2697:
2693:
2692:
2687:
2683:
2679:
2675:
2671:
2665:
2661:
2657:
2652:
2648:
2644:
2640:
2639:
2634:
2633:Oliver, Edith
2630:
2626:
2622:
2618:
2612:
2608:
2604:
2600:
2595:
2591:
2587:
2583:
2577:
2573:
2572:
2566:
2562:
2558:
2554:
2553:
2548:
2543:
2539:
2535:
2531:
2525:
2521:
2517:
2513:
2509:
2505:
2501:
2497:
2493:
2489:
2485:
2481:
2477:
2476:
2471:
2467:
2463:
2459:
2455:
2451:
2450:
2444:
2440:
2436:
2432:
2428:
2424:
2420:
2416:
2412:
2411:
2406:
2401:
2397:
2393:
2389:
2388:
2383:
2378:
2374:
2370:
2366:
2365:
2360:
2359:Fitts, Dudley
2356:
2352:
2348:
2344:
2340:
2333:
2329:
2325:
2319:
2315:
2311:
2307:
2306:
2301:
2297:
2296:
2291:
2282:
2276:
2272:
2268:
2261:
2258:
2254:
2249:
2246:
2242:
2238:
2233:
2230:
2226:
2221:
2218:
2215:, p. 57.
2214:
2209:
2206:
2202:
2197:
2195:
2193:
2189:
2185:
2180:
2178:
2174:
2170:
2165:
2163:
2159:
2153:
2150:
2147:
2143:
2139:
2136:
2133:
2129:
2126:
2123:
2119:
2115:
2112:
2109:
2105:
2102:
2101:
2098:
2095:
2091:
2086:
2084:
2082:
2078:
2074:
2069:
2067:
2065:
2063:
2059:
2055:
2050:
2047:
2042:
2036:
2032:
2028:
2021:
2018:
2014:
2010:
2006:
2002:
1998:
1994:
1990:
1989:Opera Journal
1983:
1980:
1975:
1969:
1965:
1964:
1956:
1953:
1948:
1942:
1938:
1934:
1933:"Jack Beeson"
1927:
1924:
1919:
1913:
1909:
1905:
1898:
1895:
1891:
1886:
1884:
1882:
1880:
1878:
1876:
1874:
1870:
1866:
1861:
1859:
1857:
1853:
1849:
1844:
1842:
1838:
1834:
1829:
1826:
1823:, p. 64.
1822:
1817:
1814:
1810:
1806:
1801:
1798:
1794:
1789:
1786:
1782:
1777:
1775:
1773:
1769:
1765:
1760:
1758:
1756:
1754:
1750:
1746:
1741:
1738:
1734:
1729:
1726:
1722:
1717:
1714:
1710:
1705:
1702:
1698:
1693:
1690:
1686:
1681:
1679:
1677:
1673:
1669:
1664:
1662:
1660:
1656:
1652:
1647:
1645:
1643:
1641:
1639:
1635:
1631:
1626:
1624:
1620:
1616:
1611:
1608:
1604:
1599:
1596:
1593:, p. 83.
1592:
1587:
1585:
1583:
1579:
1575:
1570:
1567:
1563:
1558:
1555:
1551:
1546:
1544:
1542:
1538:
1535:, p. 53.
1534:
1529:
1527:
1523:
1519:
1514:
1512:
1510:
1508:
1504:
1501:, p. 48.
1500:
1495:
1492:
1488:
1483:
1481:
1479:
1477:
1473:
1468:
1462:
1458:
1454:
1453:
1445:
1442:
1438:
1433:
1430:
1427:, p. 72.
1426:
1421:
1419:
1417:
1413:
1410:, p. 71.
1409:
1404:
1401:
1397:
1392:
1389:
1386:, p. 20.
1385:
1380:
1377:
1373:
1368:
1366:
1362:
1357:
1351:
1347:
1346:
1338:
1336:
1332:
1327:
1323:
1319:
1318:
1313:
1307:
1305:
1301:
1297:
1292:
1289:
1285:
1280:
1277:
1274:, p. 14.
1273:
1268:
1265:
1261:
1257:
1252:
1249:
1245:
1240:
1238:
1236:
1232:
1228:
1223:
1221:
1217:
1213:
1208:
1205:
1201:
1196:
1194:
1190:
1186:
1181:
1179:
1177:
1173:
1169:
1164:
1161:
1157:
1153:
1149:
1145:
1140:
1137:
1133:
1128:
1126:
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536:direct action
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2996:Parents' Day
2994:
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2939:
2919:Bibliography
2907:Paul Goodman
2857:
2850:Zolotow, Sam
2830:Paul Goodman
2829:
2800:
2796:Tytell, John
2765:
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2292:Bibliography
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2220:
2208:
2145:
2141:
2138:Hochman 1966
2131:
2121:
2117:
2107:
2097:
2090:Zolotow 1965
2073:Hochman 1966
2049:
2030:
2020:
2012:
1995:(4): 35–66.
1992:
1988:
1982:
1962:
1955:
1936:
1926:
1907:
1897:
1828:
1816:
1800:
1788:
1781:McHarry 1959
1740:
1728:
1716:
1704:
1692:
1685:Antliff 2017
1668:Antliff 2017
1615:Shanley 1952
1610:
1603:Bottoms 2004
1598:
1569:
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1286:, p. 3.
1279:
1267:
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1200:Mattson 2002
1163:
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1068:
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1049:The Birthday
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892:Cubist plays
883:
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844:Edith Oliver
835:
833:
809:Roger Morgan
805:Remy Charlip
794:
773:
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657:(1935), has
654:
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623:'s biblical
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315:
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234:
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222:The Birthday
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196:
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188:
184:
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177:The Birthday
176:
172:
162:
153:
137:Paul Goodman
135:
101:
96:'s biblical
89:
81:
69:
65:
53:
51:
39:experimental
31:Paul Goodman
28:
26:
2940:Stage works
2253:Nicely 1979
2241:Nicely 1986
2237:Tytell 1995
2225:Nicely 1979
2213:Nicely 1979
2169:Oliver 1966
2114:Oliver 1966
2054:Nicely 1979
1865:Nicely 1979
1833:Tytell 1995
1821:Nicely 1979
1809:Rogoff 1997
1805:Nicely 1979
1793:Nicely 1979
1764:Tytell 1995
1745:Tytell 1995
1733:Tytell 1995
1721:Nicely 1979
1709:Tytell 1995
1697:Tytell 1995
1651:Tytell 1995
1630:Tytell 1995
1591:Tytell 1995
1574:Tytell 1995
1562:Tytell 1995
1550:Nicely 1979
1533:Tytell 1995
1518:Nicely 1979
1499:Tytell 1995
1487:Nicely 1979
1437:Tytell 1995
1425:Tytell 1995
1408:Tytell 1995
1396:Tytell 1995
1384:Tytell 1995
1345:Fritz Perls
1284:Nicely 1979
1272:Nicely 1979
1244:Nicely 1979
1212:Widmer 1980
1185:Rogoff 1997
1168:Rogoff 1997
1158:squeamish."
825:Yiddishisms
817:Earle Hyman
774:Three Plays
760:during his
754:Jack Beeson
752:. Composer
637:Kierkegaard
601:Three Plays
580:John Tytell
462:Three Plays
416:Meditations
405:centers on
318:Julian Beck
276:Mark Rothko
185:The Cyclist
169:verse drama
58:verse drama
3248:Categories
3106:Five Years
2976:Communitas
2744:Commonweal
2184:Sheed 1966
2132:Commonweal
2128:Sheed 1966
2009:1764121215
1848:Funke 1959
1256:Fitts 1942
1227:Fitts 1942
1102:Smith 2001
1080:References
1011:Resistance
996:Stop Light
908:tragedians
786:vaudeville
762:Rome Prize
718:was staged
668:Commentary
438:Resistance
399:Goodman's
385:portrayed
295:Stop Light
272:Stop Light
209:Stop-Light
199:, and the
124:Background
64:art form;
54:Stop-Light
3202:Anarchism
3076:Making Do
2868:0362-4331
2753:0010-3330
2731:0362-4331
2700:0032-2032
2647:0028-792X
2561:2692-1251
2484:0362-4331
2419:0362-4331
2396:0028-6583
2373:0036-4983
2351:1923-5615
2001:0030-3585
1326:0031-2525
975:, in his
932:Euripides
928:Sophocles
924:Aeschylus
829:schlemiel
302:Ben Weber
293:designed
287:Ned Rorem
278:designed
159:Noh plays
3128:" (1969)
2822:(1980).
2798:(1995).
2708:20595405
2678:35758115
2625:12418868
2514:(2002).
2429:(1968).
2005:ProQuest
1031:Faustina
1002:Faustina
603:(1965).
568:his book
524:Faustina
516:Faustina
505:Faustina
501:Faustina
477:Faustina
469:Faustina
464:(1965).
444:Faustina
421:Reichian
402:Faustina
391:Faustina
354:Faustina
300:set and
285:set and
214:Percival
145:humanist
80:themes;
78:Reichian
70:Faustina
3226:Theater
3188:Portals
2926:Fiction
2607:153–183
2590:4832535
2458:3477442
2267:"Jonah"
971:. Poet
949:Ubu Roi
782:musical
742:Nineveh
659:Ishmael
621:Abraham
599:in his
585:obscene
578:writer
512:frescos
94:Abraham
3168:(1973)
3158:(1972)
3148:(1971)
3138:(1970)
3119:(1967)
3109:(1966)
3099:(1965)
3089:(1964)
3079:(1963)
3069:(1963)
3059:(1962)
3049:(1962)
3039:(1962)
3029:(1960)
3019:(1959)
3009:(1954)
2999:(1951)
2989:(1951)
2979:(1947)
2969:(1947)
2959:(1946)
2933:Poetry
2866:
2838:
2808:
2786:
2776:
2751:
2729:
2706:
2698:
2691:Poetry
2676:
2666:
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2623:
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2037:
2007:
1999:
1970:
1943:
1914:
1463:
1352:
1324:
1073:CHARAS
978:Poetry
918:; and
898:Cubist
870:'s
841:'s
736:. The
510:Roman
508:'s
306:CHARAS
298:'s
283:'s
201:Chorus
195:, the
187:, and
114:Cubist
3214:Books
2704:JSTOR
2534:JSTOR
2504:23458
2328:JSTOR
2146:Jonah
2122:Jonah
1059:Jonah
1019:Jonah
1013:group
946:like
944:farce
867:Jonah
784:with
770:Jonah
766:Jonah
730:Jonah
725:Jonah
716:Jonah
705:Jonah
691:Hagar
681:Sarah
651:Isaac
440:group
419:with
197:Shite
147:, or
106:Jonah
102:Jonah
76:with
2864:ISSN
2836:ISBN
2806:ISBN
2784:Gale
2774:ISBN
2749:ISSN
2727:ISSN
2696:ISSN
2674:OCLC
2664:ISBN
2643:ISSN
2621:OCLC
2611:ISBN
2586:OCLC
2576:ISBN
2557:ISSN
2524:ISBN
2500:OCLC
2480:ISSN
2454:OCLC
2435:OCLC
2415:ISSN
2392:ISSN
2369:ISSN
2347:ISSN
2318:ISBN
2275:ISBN
2120:): "
2035:ISBN
1997:ISSN
1968:ISBN
1941:ISBN
1912:ISBN
1461:ISBN
1350:ISBN
1322:ISSN
1051:and
994:and
992:Dusk
882:and
819:and
631:and
629:Arab
489:and
280:Dusk
270:and
268:Dusk
248:and
218:Dusk
193:Waki
173:Dusk
2310:doi
850:of
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165:Noh
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