pictures with stars such as Humphrey Bogart and Carole Lombard, then an actor in cult B movies, and finally a part of the advent of television, with regular roles on The Adventures of Ozzie and Harriet and Leave It to Beaver. From there he became a magician’s assistant, an actor in a traveling theater troupe, a romantic lead in early talkies, then an actor in major Warner Bros. Born in 1902, Lyle left his home in small-town Nebraska in 1918 to join a traveling carnival. The arc of Lyle Talbot’s career is in fact the story of American entertainment.
Using the life and career of her father, an early Hollywood actor, New Yorker writer Margaret Talbot tells the thrilling story of the rise of popular culture through a transfixing personal lens. One of the reasons why Osborne changed the face of English theatre is that he made passionate personal drama out of a national malaise.' Sunday Times the play becomes a flamboyant coronach for England's lost greatness, enshrining one of the great characters in modern drama.' Daily Telegraph 'Like all Osborne's best work, this is a play about personal failure, individual desolation, the frustration of a community. one wonders whether any of the bright new talents will have the courage to do what Osborne did in the past: to encapsulate on the tiny stage the state of the nation at large.' Guardian Praise for The Entertainer 'The rancid, dead-accurate domestic dialogue is a joy, with clichs dropping like bats from the ceiling. And risking most, frequently offered the most rewards.' David Hare, Spectator 'Osborne was an instinctive writer, but he had genius in his early years for capturing the national mood and conveying undiluted feeling. Of all the British playwrights of the twentieth century he is the one who risked the most. 'A lifelong satirist of prigs and puritans, whether of the Right or Left, he took no hostages, expecting from other people the same unyielding, unflinching commitment to their view of the truth which he took for granted in his own. This second collection of John Osborne's dramatic work includes The Entertainer, The Hotel in Amsterdam, West of Suez and Time Present. By integrating such varied material into an original commentary on the image of the entertainers, this book provides an invaluable resource for all the disciplines it touches. With three chapters on literature, a chapter comparing poetry to painting, and a chapter each on dance, the visual arts, and film, Art as Spectacle offers unprecedented scope on a compelling topic in comparative studies. Accordingly, the artist also sees the player as morally or spiritually elevated. Ritter shows that writers, painters, choreographers, and filmmakers have persistently identified with the entertainer, whose roots lie in primitive ritual: a source of all art. Three areas of argument-identification, primitivism, and transcendence-account for the performer's ubiquity in the arts of the last two centuries. Although a broadly comparative study underlies Art as Spectacle, the book focuses mainly on examples from Germany and France. Her analysis implies much about the triangle of creator, work, and audience that inevitably controls art.
In Art as Spectacle, Naomi Ritter investigates this phenomenon and offers explanations that transcend the array of works discussed. Why do images of entertainers abound in European literature and art since Romanticism? From Baudelaire to Picasso, from Daumier to Fellini, mimes, clowns, aerialists, and jesters recur in major works by continental artists.
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