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by John Lahr,Kenneth Tynan

Author: John Lahr,Kenneth Tynan
Subcategory: Historical
Language: English
Publisher: Bloomsbury USA; 1st U.S. Ed edition (November 17, 2001)
Pages: 420 pages
Category: Biographies
Rating: 4.1
Other formats: mbr lit lrf lrf

Kenneth Peacock Tynan (2 April 1927 – 26 July 1980) was an English theatre critic and writer.

Kenneth Peacock Tynan (2 April 1927 – 26 July 1980) was an English theatre critic and writer. Making his initial impact as a critic at The Observer (1954–1958, 1960–1963), he praised Osborne's Look Back in Anger (1956), and encouraged the emerging wave of British theatrical talent. In 1963, Tynan was appointed as the new National Theatre Company's literary manager.

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The Diaries of Kenneth Tynan reveals afresh the sparkling, undimmed loquacity of the man who turned theatre criticism into an art form in its own right. It is also a desperate, harrowing tale of a tormenting talent on a tragic trajectory, described by Tynan's second wife Kathleen, in her superb biography The Life of Kenneth Tynan as "electrically charged, but not earthed". Perhaps the most brilliant and feared theatre critic of his generation, Kenneth Tynan was responsible for 'Oh! Calcutta!', and was also a notorious eccentric, who enjoyed wine, literature and women and the first person to say the 'f' word on television.

Excerpted by permission.

The same eccentric had said when we arrived and booked a room: & on earth made you choose this place?' 10 February. Excerpted by permission.

Inside Hollywood: Kenneth Tynan subs for Nathanael West. This volume of the diaries of Kenneth Tynan is hugely entertaining. Before his death, age 53, Tynan found himself in California where, he groans, 1-out-of-3 is involved in the military- defense complex. Tynan was married twice, slept with a lot of actresses, (he speaks about them warmly) and enjoyed spanking his partners (and being spanked). Tynan, the theater critic for the London paper, The Observer, and the dramaturg of the National Theater in its early days contains lines worth quoting on every page.

Bloomsbury, 439 p. £25, 22 October, 0 8. Kenneth Tynan smoked like a maestro, an aficionado of his own smooth technique

Bloomsbury, 439 p. Kenneth Tynan smoked like a maestro, an aficionado of his own smooth technique. Cigarettes were key props in the Ken Tynan legend assembly- kit, along with the Mickey Mouse watch and effete-aesthete Anthony Blanche outfits he wore at Oxford, and, later, the poolstick collection of headmaster's canes he kept handy to beat women's bottoms. The cigarettes eventually killed him, but it is only with one in his hand that he looks fully activated, in character.

This volume of the diaries of Kenneth Tynan is hugely entertaining. Tynan is an excellent observer and a thoughtful guy. In this book he writes generally short, sharp bits about whatever is on his mind at the time. Here's part of an entry I sent to several of my friends, Tynan is describing a conference he's attending: " Many of the panelists cease, on achieving panel membership, to speak English. Instead they speak panelese.

When Kenneth Tynan died of emphysema in Los Angeles in 1980, the .

When Kenneth Tynan died of emphysema in Los Angeles in 1980, the world lost not only the finest drama critic of the age, but one of its greatest wits. By the time Tynan graduated, his critical scalpel was honed, ready to sink deep into a moribund British theater desperately in need of heroic intervention.

I’ve extracted all the relevant parts from the book and added a few additional notes of my own in italics. So we beat on, canes against buttocks, borne back ceaselessly into the past. A parody of the last lines of F. Scott Fitzgerald’s The Great Gatsby : So we beat on. boats against the current, borne ceaselessly back into the past. Roman shoots the nude sleepwalking scene.

An engaging, and intimate look at one of the most feared and respected critics of our time.

'Be light, stinging, insolent, and melancholy' were the words hanging over the desk of Kenneth Tynan in his early days as a critic for the London Observer, and his journals are just that. For Tynan, arguably the greatest critic of the twentieth century, all life was theater and demanded to be conveyed as such. Whether he is feverishly recording his impressions of the historic fight between Muhammad Ali and George Foreman, recounting a scandalously successful meeting between Marlene Deitrich and John F. Kennedy, or venting his frustrations about working with Laurence Olivier, Tynan's wicked observations are consistently clever and inspired.

Tynan's journals are an intoxicating mix of aesthetics, theater, love, sex, and politics from the perspective of a man who often served as confidant to the glittering personalities of his age. Already excerpted in the New Yorker, they offer not only an uncensored glimpse into the man himself but also an informed and irreverent view of our time.