The Marowitz Compendium

Epilogue

Remembering Charles Marowitz, by Thelma Holt CBE (2014)

This is Thelma Holt’s personal account of her twelve-year collaboration with Marowitz and their lifelong friendship and association thereafter. In this piece she describes how they first met and their fervent years together running the Open Space in London. It provides among other things fascinating anecdotal information regarding the various personalities involved and describes how the trajectory of their lives and careers were greatly influenced by one another. Holt was among other things the leading lady at the Open Space and when Marowitz left England she retired from acting and stated that she would never act for any other director. This piece gives the reader the kind of personal insight that can only come from a first-hand account.

Appendix

In the included 1972 article, Artaud at Rodez, Marowitz draws in part on the interview material provided from friends and confidantes based upon the true incidents of Antonin Artaud’s life and his incarceration in the asylum at Rodez. Also, included in this section are Marowitz’s interviews with Artaud's psychiatrist, Dr Gaston Ferdiere, and leading avant-garde figures of the time such as Roger Blin, (1907-1984) one of Artaud’s earliest protégés, and one of France’s leading directors. Blin’s productions included the world premieres of Samuel Beckett’s Waiting for Godot, Endgame, Krapp’s Last Tape, and Happy Days. He also directed the first productions of Jean Genet’s The Blacks, and The Screens. In addition, Arthur Adamov (1908-1970) was, with Beckett and Ionesco, considered for a time as one of the leading Absurdist writers of the 50s and one who strongly revealed signs of Artaud’s tutelage.

Acknowledgements

The editor would like to thank and acknowledge Jane Windsor-Marowitz for her generous supply of documents and permissions, Valerie Lange at Ibidem Press, Holly O’Neill at Cambridge University Press, Professor Maria Shevtsova at Goldsmiths College, London and Editor of New Theatre Quarterly, and Rainbow Underhill for her generous graphic design assistance. ‘Notes on the Theatre of Cruelty’ was first printed in the Tulane Drama Review, Volume 11, No. 2, Winter 1966, pp 152-172, reprinted courtesy of TDR: The Drama Review and The MIT Press. ‘Picasso’s Four Little Girls’ by Charles Marowitz, was first printed in TDR, Volume 16, No. 2, June 1972, pp 32-47, reprinted courtesy of TDR: The Drama Review and The MIT Press. ‘The Marowitz Hamlet’ with Introduction was first printed by Allen Lane/The Penguin Press in 1968. Penguin was contacted regarding permissions and responded that we should contact the rights holder (Jane Windsor-Marowitz). Marion Boyars which reprinted ‘The Marowitz Hamlet’ in 1978 and 1990 with a different Introduction was also contacted several months in advance of this publication but never responded. ‘Marowitz Remembered’ by Thelma Holt was first printed in the New Theatre Quarterly, 30(3), 2014, pp 206-207, reprinted courtesy of Cambridge University Press. ‘Artaud at Rodez’ by Charles Marowitz was first printed in Theatre Quarterly, Volume II, No. 6, April-June 1972.

Notes

Aronson, Arnold. American Avant-Garde Theatre: A History, London & New York: Routledge, 2000.

Shellard, Dominic. British Theatre Since the War, New Haven & London: Yale University Press, 1999.

Rebellato, Dan. 1956 and All That: The Making of Modern British Drama, London & New York: Routledge, 1999.

Marowitz, Charles. Burnt Bridges: A Souvenir of the Swinging Sixties & Beyond, London: Hodder & Stoughton, 1990.

—The Encore Reader: A Chronicle of the New Drama, (edited with Tom Milne & Owen Hale) London: Eyre Methuen, 1965.

—Open Space Plays, (editor) London: Penguin Books, 1974.

—Off-Broadway Plays, Volumes 1 & 2 (editor) London: Penguin Books, 1970 & 1972.

—The Marowitz Shakespeare: Adaptations & Collages of Hamlet, Macbeth, The Taming of the Shrew, Measure for Measure, and the Merchant of Venice, New York & London: Marion Boyars Publishers Ltd, 1978.

—New American Drama, (Contributor) London: Penguin Books, 1973.

Chambers, Colin. The Story of Unity Theatre, London: Lawrence & Wishart, 1989.

—Inside the Royal Shakespeare Company, London: Routledge, 2004.

Miles, Barry. London Calling: A Countercultural History of London Since 1945, London: Atlantic Books, 2010.

Hewison, Robert. Too Much: Art & Society in the Sixties (1960-1975), London: Methuen, 1986.

Crespy, David. Off-Off Broadway Explosion: How Provocative Playwrights of the 1960s Ignited a New American Theater, New York: Back Stage Books, 2003.

Kershaw, Baz. The Politics of Performance: Radical Theatre as Cultural Intervention, London & New York: Routledge, 1992.

Chinoy, Helen Krich, and Toby Cole (eds.) Actors on Acting, New York: Crown Publishing, Inc., 1970.

Artaud, Antonin. Artaud: Selected Writings, (edited by Susan Sontag) Berkeley & Los Angeles: University of California Press, 1988.

Burns, Elizabeth. Theatricality: A Study of Convention in Theatre and in Social Life, New York and London: Harper and Row, 1972.

Davies, Andrew. Other Theatres: The Development of Alternative and Experimental Theatre in Britain, Totowa, New Jersey: Barnes and Noble, 1987.

Schiele, Jinnie. Off-Centre Stages: Fringe Theatre at the Open Space and the Round House 1968—1983, University of Hertfordshire Press & Society for Theatre Research, 2005.

McMillan, Joyce. The Traverse Theatre Story 1963 -1988, London: Methuen Drama, 1988.

Moffat, Alistair. The Edinburgh Fringe, London & Edinburgh: Cassell Ltd, 1978.

Marowitz Interview 2011

Bottoms, Stephen. Playing Underground: A Critical History of the 1960’s off-off-Broadway Movement, Ann Arbor: University of Michigan, 2004.

Esslin, Martin. The Theatre of the Absurd, London: Pelican Books, 1968.

Kirby, Michael. Happenings, New York: Dutton, 1965.

Haynes, Jim. Thanks for Coming, London: Faber & Faber, 1984.

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