Discussing his disagreements with Robert Brustein, now at Harvard but previously at the Yale School of Drama, Bloom advocates public readings rather than productions, as the latter (in his view) are “almost invariably poorly directed and inadequately played.”īloom does not expend many of his words on theater criticism, though his book is invaluable to those who must practice that dubious craft. Wolfe (for his colonialist interpretation of “The Tempest”). Though his memories of seeing Ralph Richardson’s Falstaff still play happily in his memory, he attacks famed directors Peter Brook (both for his “A Midsummer Night’s Dream” and for his “King Lear”) and George C. Nutting, Bloom unhesitatingly attacks those who have, in his mind, distorted Shakespeare. Samuel Johnson and William Hazlitt to Anne Barton and A.D. While generous in expressing his indebtedness to critics he finds valuable, from Dr.
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