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Harold Clurman and the Group Theatre

The Journal of American drama and theatre, 1994, Vol.6 (1), p.1

Brustein, Robert

1994

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Questions of Life and Art: Recollecting Harold Clurman

New theatre quarterly, 1992-08, Vol.8 (31), p.241-248

Rotte, Joanna

1992

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Notes for a Production of "Heartbreak House"

Tulane drama review, 1961-03, Vol.5 (3), p.58-67

Clurman, Harold

1961

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The Theatre of the Thirties

Tulane drama review, 1959-12, Vol.4 (2), p.3-11

Clurman, Harold

1959

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The Achievement of Bertolt Brecht

Partisan review, 1959-10, Vol.26 (4), p.624

Clurman, Harold

1959

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Fervently Impossible: The Group Idea and Its Legacy

Performing arts journal, 1995-01, Vol.17 (1), p.1-12

Blau, Herbert

1995

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BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ

Theatre survey, 2009-11, Vol.50 (2), p.223-250

Romanska, Magda

2009

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"An Advance to New": Interstitial Modernism and Toronto's Theatre of Action, 1936–40

Theatre journal (Washington, D.C.), 2013-12, Vol.65 (4), p.507-522

Filewod, Alan

2013

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Inventing Tennessee Williams: The Theatre Guild and His First Professional Production

The Tennessee Williams annual review, 2006-01, Vol.8 (8), p.51-71

Case, Claudia Wilsch

2006

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The Couch and Tennessee

The Tennessee Williams annual review, 2000, Vol.3 (3), p.52

Paller, Michael

2000

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'Suddenly Last Summer': Williams and Melville

Modern drama, 1961-02, Vol.3 (4), p.396-400

Hurt, James R

1961

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A Drama of Class AND Race: Southern Progressivism in Paul Green's The House of Connelly

North Carolina literary review, 2016-06, Vol.25 (25), p.72-85

Vines, Kelly

2016

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The Revolt of Responsibility: A Symbolic Reading of Miller's Incident at Vichy

The Arthur Miller journal, 2007-04, Vol.2 (1), p.25-47

Polster, Joshua E.

2007

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Reassessing Obscurity: The Case for Big Data in Theatre History

Theatre journal (Washington, D.C.), 2016-12, Vol.68 (4), p.555-573

Caplan, Debra

2016

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The Interwar Family and American Jewish Identity in Clifford Odets's "Awake and Sing!"

Jewish social studies, 2006-10, Vol.13 (1), p.2-30

Krasner, Jonathan B

2006

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Enter Brando

Raritan, 2015-03, Vol.34 (4), p.85

DeLibero, Linda

2015

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Days with the group theatre: An interview with Clifford Odets: Document View

Michigan quarterly review, 2002, Vol.41 (2), p.174

Hethmon, Robert H

2002

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“Hey, asshole: you had your say”: The Performance of Theatre Criticism

Theatre topics, 2014-06, Vol.24 (2), p.103-124

Hatton, Oona

2014

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Enacting Ethnicity: Yiddishkeit Masked and Unmasked on the Contemporary American Stage

Jewish social studies, 2018-01, Vol.23 (2), p.1-23

Shandler, Jeffrey

2018

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"We are the Storm": Audience Collaboration in W. H. Auden's "The Dance of Death"

Texas studies in literature and language, 2015-12, Vol.57 (4), p.491-518

Sheets, Ryan

2015

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"...then she came, and she cried. And I went back home with her": Arthur Miller's "All My Sons" and The Prison-House of Gender

The Arthur Miller journal, 2013-10, Vol.8 (2), p.27-42

Gleitman, Claire

2013

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The Poetics of Politics: Some Notes on Style and Craft in the Theatre of the Thirties

Theatre journal (Washington, D.C.), 1983-12, Vol.35 (4), p.475-498

Chinoy, Helen Krich

1983

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Nomadic Chutzpah: The Vilna Troupe's Transnational Yiddish Theatre Paradigm, 1915–1935

Theatre survey, 2014-09, Vol.55 (3), p.296-317

Caplan, Debra

2014

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Tennessee Williams's 'serious comedy': problems of genre and sexuality in (and after) Period of Adjustment

Philological quarterly, 2012-01, Vol.91 (1), p.97

Pettit, Alexander

2012

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Creative State / Flow State: Flow Theory in Stanislavsky's Practice

New theatre quarterly, 2013-02, Vol.29 (1), p.13-23

Silberschatz, Marc

2013

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Harold Clurman and the Group Theatre

Questions of Life and Art: Recollecting Harold Clurman

Notes for a Production of "Heartbreak House"

The Theatre of the Thirties

The Achievement of Bertolt Brecht

Fervently Impossible: The Group Idea and Its Legacy

BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ

"An Advance to New": Interstitial Modernism and Toronto's Theatre of Action, 1936–40

Inventing Tennessee Williams: The Theatre Guild and His First Professional Production

The Couch and Tennessee

'Suddenly Last Summer': Williams and Melville

A Drama of Class AND Race: Southern Progressivism in Paul Green's The House of Connelly

The Revolt of Responsibility: A Symbolic Reading of Miller's Incident at Vichy

Reassessing Obscurity: The Case for Big Data in Theatre History

The Interwar Family and American Jewish Identity in Clifford Odets's "Awake and Sing!"

Enter Brando

Days with the group theatre: An interview with Clifford Odets: Document View

“Hey, asshole: you had your say”: The Performance of Theatre Criticism

Enacting Ethnicity: Yiddishkeit Masked and Unmasked on the Contemporary American Stage

"We are the Storm": Audience Collaboration in W. H. Auden's "The Dance of Death"

"...then she came, and she cried. And I went back home with her": Arthur Miller's "All My Sons" and The Prison-House of Gender

The Poetics of Politics: Some Notes on Style and Craft in the Theatre of the Thirties

Nomadic Chutzpah: The Vilna Troupe's Transnational Yiddish Theatre Paradigm, 1915–1935

Tennessee Williams's 'serious comedy': problems of genre and sexuality in (and after) Period of Adjustment

Creative State / Flow State: Flow Theory in Stanislavsky's Practice

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