Edward Albee's Tiny Alice: A Note Of Re-Examination
1968; University of Toronto Press; Volume: 11; Issue: 1 Linguagem: Inglês
10.3138/md.11.1.54
ISSN1712-5286
Autores Tópico(s)Cultural Studies and Interdisciplinary Research
ResumoEDWARD ALBEE'S Tiny Alice SUSTAINS neither the acute artistic control nor the consummate theatrical dialogue of Who's Afraid of Virginia Woolf or the Zoo Story~ but it attempts to be more metaphysically provocative than either. And in the 1964-1965 New York production the attempt was successful. (However, the compensating talents of a John Gielgud, an Irene Worth, a William Hutt were, in Tiny Alice, more necessary to support the somewhat shaky substratum and camouflage the plethora of superficial quips-that so often pass for deeply probing comments on being—than, say, an Arthur Hill and an Uta Hagen were essential to the success of Virginia Woolf.) In this drama perhaps more profundity is attempted than in any of Mr. Albee's other plays; less is actually realized—at least on the printed page. Mr. Albee's success rests on his superior reinforcement of the verbal with the visual.
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