Exorcising the theatrical demons


The New Yorker’s Richard Brody tackles Terrence Rafferty’s lament regarding the purported decline in American acting. Brody’s critique is largely correct here, that, in effect, hoping for another Marlon Brando not only oversimplifies the contexts that produced the performer (and crucially, I would add, work to frame industrial and popular reception of performance) but also does a disservice to less visible, but no less viable, American performers working today.

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