Kenneth Tynan Quotes on Art
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When you've seen all of Ionesco's plays, I felt at the end, you've seen one of them.
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The man who reacts to the universe with a cry of impotent anguish is acceptable as an artist only if he can persuade us that he has sanely considered the other possible reactions and found them inadequate.
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I attacked those Western playwrights who use their influence and affluence to preach to the world the nihilistic doctrine that life is pointless and irrationally destructive, and that there is nothing we can do about it. Until everyone is fed, clothed, housed and taught, until human beings have equal leisure to contemplate the overwhelming fact of mortality, we should not (I argued) indulge in the luxury of 'privileged despair.'
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The buttocks are the most aesthetically pleasing part of the body because they are non-functional. Although they conceal an essential orifice, these pointless globes are as near as the human form can ever come to abstract art.
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One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself. (p. 61)
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Welles is at once as abnormal and as natural as Niagara Falls. (p. 65)
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Every speech, for Olivier, is like a mass of marble at which the sculptor chips away until its essential form and meaning are revealed. No matter how ignoble the character he plays, the result is always noble as a work of art. (p. 208)
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She shows herself to the audience like the Host to the congregation. (p. 217)
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A good many inconveniences attend playgoing in any large city, but the greatest of them is usually the play itself.
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I believe in neither a director's nor a writer's theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.
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No theater could sanely flourish until there was an umbilical connection between what was happening on the stage and what was happening in the world.
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Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.