In a reprise of 2008's "Week 3," Chautauqua's most popular week ever, Roger Rosenblatt returns with even more friends for another week-long conversation and celebration of the literary arts. Humor, pathos, new worlds are here to explore, with some of today's most prominent authors, interviewed by a master at getting to the heart of the story.
This talk features Marsha Norman.
Bio
Marsha Norman
Pulitzer Prize-winning playwright Marsha Norman is the co-director of the Playwrights Program at The Juilliard School, where she has served on the faculty since 1994. She was awarded the 1983 Pulitzer Prize, Susan Smith Blackburn Prize, Hull-Warriner, and Drama Desk awards for 'Night Mother; 1992 Tony Award and Drama Desk Awards for The Secret Garden; John Gassner Medallion, Newsday Oppenheimer Award, and the American Theater Critics Association Citation for Getting Out.
Norman's other plays include Third and Oak: The Laundromat, The Poolhall, The Holdup, Traveler in the Dark, Sarah and Abraham, Loving Daniel Boone, and Trudy Blue. Her published work includes four plays and a novel, The Fortune Teller. Television and film credits include Face of a Stranger, starring Gena Rowlands and Tyne Daley. She has received grants and awards from NEA, the Rockefeller Foundation, and the American Academy and Institute of Arts and Letters. She serves on council of the Dramatists Guild.
Roger Rosenblatt
Roger Rosenblatt is a journalist, author, playwright, and teacher. William Safire of the New York Times wrote that his work represents "some of the most profound and stylish writing in America today." His television essays for "The NewsHour with Jim Lehrer" on PBS have won a Peabody and an Emmy award. His essays for TIME magazine have won two George Polk Awards, awards from the American Bar Association, the Overseas Press Club, and others.
Rosenblatt's journalism career began in 1975 as literary editor of The New Republic. He has also been a columnist and editor-at-large for Life magazine, the editor of U.S. News & World Report, a columnist and editorial board member of The Washington Post and editor-at-large of TIME, Inc. His work has appeared in The New York Times Magazine, Vanity Fair, The New Republic, Esquire and elsewhere.
He is the author of ten books, including a collection of his writings, The Man in the Water, Coming Apart: A Memoir of the Harvard Wars of 1969, and the national bestseller, Rules for Aging. His book Children of War (1983) won the Robert F. Kennedy Book Prize and was a finalist for the National Book Critics Circle Award. His most recent book, Lapham Rising (2006), his first novel, was loosely based on the lecture he delivered on major trends of the 20th century at Chautauqua in 2004.
Rosenblatt is currently a professor in the English department at Stony Brook University, where he teaches in the writing program at Stony Brook Southampton. He was most recently the Edward R. Murrow Visiting Professor of the Practice of the Press and Public Policy at Harvard University and held the Parsons Family Chair at the Southampton graduate campus of Long Island University.
Live performance of dramatic actions in order to tell a story or create a spectacle. The word derives from the Greek theatron (“place of seeing”). Theatre is one of the oldest and most important art forms in cultures worldwide. While the script is the basic element of theatrical performance, it also relies in varying degrees on acting, singing, and dancing, as well as on technical aspects of production (seestagecraft). Theatre is thought to have had its earliest origins in religious ritual; it often enacts myths or stories central to the belief structure of a culture or creates comedy through travesty of such narratives. In Western civilization, theatre began in ancient Greece and was adapted in Roman times; it was revived in the medieval liturgical dramas and flourished in the Renaissance with the Italian commedia dell'arte and in the 17th–18th century with established companies such as the Comédie-Française. Varying theatrical forms may evolve to suit the tastes of different audiences (e.g., in Japan, the kabuki of the townspeople and the Noh theatre of the court). In Europe and the U.S. in the 19th and early 20th centuries, theatre was a major source of entertainment for all social classes, with forms ranging from burlesque shows and vaudeville to serious dramas performed in the style of the Moscow Art Theatre. Though the musicals of Broadway and the farces of London's West End retain their popular appeal, the rise of television and movies has eroded audiences for live theatre and has tended to limit its spectators to an educated elite. See alsolittle theatre.
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