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[[image - sketch of theater seats with a few audience members]]
Send for the first volume in a new series on the Repertory Theater of Lincoln Center
THEATRE VOLUME 1
Here, in a handsomely designed, beautifully illustrated new book, is the behind-the-scenes story of the inaugural season of a new kind of theatre in America, the Repertory Theater of Lincoln Center---what it is, how it came into being, what it can mean to the theatre in general in the United States.
THEATRE: VOLUME 1 contains original articles by some of the best-known names in the modern theatre:
ALFRED HARBAGE on the repertory theatre of Shakespeare's day;
HAROLD CLURMAN on Arthur Miller and his plays;
ARTHUR and BARBARA GELB on O'Neill and Marco Millions;
S. N. BEHRMAN in a provocative dialogue with John Simon;
BARRY HYAMS presents ROBERT WHITEHEAD, JO MIELZINER, JOSE QUINTERO, DAVID HAYS, ELIA KAZAN, and others, each of whom discusses his own part in the creation of the Repertory Theater;
SANDRA HOCHMAN introduces the twenty-five actors of the Repertory Theater.
THEATRE: VOLUME I begins a unique project in theater publication.
Illustrated with photographs.
$3.50
Ask for it at your bookstore or use the coupon.
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Please send me __________ copies of THEATRE: VOLUME I @ $3.50 per copy. [[box]] check or [[box]] money order enclosed.
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On this 400th anniversary of the birth of William Shakespeare, PLAYBILL has asked four great actors for their experiences and views in connection with Hamlet-the Bard's most produced and debated play. The intriguing replies of Richard Burton, Sir John Gielgud, Maurice Evans and Christopher Plummer follow.
[[drawing of a crown]]
The Prince of Denmark
four views [[photograph of Richard Burton]]
Richard Burton
If one man believes that Hamlet is the
tragedy of a man who cannot make up
his mind and plays it that way-then
that is, for three and a half hours, what
Hamlet is. If another believes him to
be a frustrated soldier, envious of "the
delicate and tender Prince...with
diving ambition puffed", than that is
what he is. If another chooses to mince
delicately on high heels, scornful and
scorning, to his deadly appointment with Laertes' rapier then that is what
Hamlet is. These actors have but to
have enough power of personality to
command your attention and their
Hamlets are for a couple of hours what
these actors choose to be, or cannot
help being.
Someone once told me that that the first
Hamlet you see is the one that domi-
nates the rest of your life. I've asked
this of other people and apparently it
is not true. In my case however it is.
The first Hamlet I ever saw was in 1944
at Oxford. The actor was Gielgud. I
was lucky. I saw-and see in my mem-
ory-the golden renaissance Prince, witty, scholarly, loving, high-poetic;
infinitely, smilingly, and heart-break-
ingly melancholy. His was indeed so near perfect a performance that he
nearly killed my ambition. Who could
match him? I thought. Who could
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match him? It was Sir John himself
who later on when I became friends
with him persuaded me, by inference
more than by direct statement, that
every man is his own Hamlet, that
Hamlet (assuming that there is the
initial talent) is so massive that there is room for all.
Who in two or three hundred words,
or for that matter, two or three thou-
sand books can throw light on Ham-
let? Thousands of volumes, philosophical, psychological, idolatrous, re-
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Transcription Notes:
Only first page transcribed so far.
