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E-raamat: To Repair the World: Zelda Fichandler and the Transformation of American Theater

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This book is a biography in the form of an oral history about a woman whose founding of Arena Stage in Washington DC in 1950 shifted live professional theater away from Broadway and inspired the creation of non-profit theaters around the country.



This book is a biography in the form of an oral history about a woman whose founding of Arena Stage in Washington, DC in 1950 shifted live professional theater away from Broadway and inspired the creation of non-profit theaters around the country. Dianne Wiest, James Earl Jones, Stacy Keach, and Jane Alexander, among many others, share their memories of this intrepid pioneering woman during Arena Stage’s early years.

As Head of New York University’s Graduate Acting Program for 25 years, Zelda Fichandler also trained a younger generation of gifted actors. Marcia Gay Harden, Rainn Wilson, Mahershala Ali, and other developing actors who became “artist-citizens” under her guidance, talk about the ways in which she transformed their lives.

Theater practitioners who have lived during Zelda Fichandler’s time will find this book a fascinating and entertaining read––as will all theater lovers, especially those in Washington, DC. And through this vivid and compelling oral history, students and aspiring artists will come to grasp how the theatrical past can shed essential light on the theater of today and tomorrow.

Arvustused

Zelda Fichandlers mind and personality spring to life in To Repair the World, a riveting oral history filled with moving recollections and surprising anecdotes on every page. Zeldas path-breaking career and tenacious vision continue to inspire.

Howard Shalwitz, Artistic Director Emeritus, Woolly Mammoth Theatre Company



Zelda curated an environment for growth and self-reflection, and Im deeply grateful for that. She inspired you on your journey to find your life tools.

Mahershala Ali, Academy Award-winning actor

To Repair the World deftly weaves together interviews with Zelda Fichandlers own writing to provide an invigorating, nuanced, and timely look at the birth of a movement that changed the way Americans think about theater.

Carey Perloff, former Artistic Director, American Conservatory Theater

'Robinsons bracingly frank book is full of this kind of complication and texture: praise tempered by criticism, and vice versa. Robinsons book even winds up in meta-contemplation of The Long Revolution itselfa collection that was in the works before Zeldas death but was only completed earlier this year.'

Rob Weinert-Kendt (he/him), editor-in-chief of American Theatre.

Full review is available here

''Robinsons book is a biography written in oral-history form. It traces Zeldas life and career through the reflections of her friends and colleagues, interspersed with Robinsons own writing and excerpts from Zeldas speeches and letters that give context to others memories.''

Lucy Gram, SDC Journal

Full article is available here

''Mary B. Robinson chronicles this remarkable person in her recently published oral history biography, To Repair the World: Zelda Fichandler and the Transformation of American Theater. In 17 sections, 16 of which focus squarely on Zelda and her relationship with theater at Arena Stage and later at the New York University graduate acting program, Robinson has orchestrated hundreds of short oral accounts to create an intricate collage of the many facets of this theatrical legend. She does not spare us the warts or the controversies either because even those traits, which some experienced negatively, shaped the dynamism that is Zelda Fichandler.''

Robert Michael Oliver, DC Theater Arts

Full review is available here.

Note

Foreword by Jane Alexander

Preface

Prologue: Destined to be a Pioneer: Boston and Washington DC, 1924 to 1950

Chapter
1. Something Was Happening There: Arena Stage, 1950 to 1961

Chapter
2. Making a Point: Arena Stage, 1961 to 1967

Chapter
3. Trapped in the Ring: Arena Stage, 1967 to 1968

Chapter
4. Tension Between the Old and the New: Arena Stage, 1969 to 1973

Chapter
5. A Long-Postponed Rendezvous: Arena Stage in the Soviet Union, 1973

Chapter
6. Passionately Involved in Everything: Arena Stage, 1973 to 1978

Chapter
7. A Very Charmed Circle of People: Arena Stage, 1978 to 1984

Chapter
8. Changing the Zeitgeist: New York University, 1984 to 1991

Chapter
9. Adding Some New Energy: Arena Stage, 1984 to 1988

Chapter
10. An Unbridgeable Aesthetic Gulf: Arena Stage, 1986 to 1987

Chapter
11. A Sense of Completion: Arena Stage in Israel, 1987

Chapter
12. Returning to the Room with Actors: Arena Stage, 1987 to 1991

Chapter
13. Being a Missionary: The Acting Company, 1991 to 1994

Chapter
14. Taking Those Big Risks: New York University, 1991 to 2000

Chapter
15. Keeping the Door Open: Arena Stage, 1991 to 2008

Chapter
16. We Carry on Telling Stories: New York University, 2001 to 2008

Chapter
17. How Do We Move It Forward? Washington, DC, 2008 to 2016

Afterword: Passing the Fire

Acknowledgements

List of Contributors

Bibliography

Permissions

Index

Mary B. Robinson headed an undergraduate directing program at New York University (under the auspices of Playwrights Horizons Theater School) from 19992014. She has directed 70 productions at non-profit theaters (including Arena Stage, Manhattan Theatre Club, Second Stage, and Seattle Repertory Company), from 1981 to the present. She was one of 50 directors (along with Zelda Fichandler) featured in American Women Stage Directors of the Twentieth Century (University of Illinois Press, 2008). Author of Directing Plays, Directing People: A Collaborative Art, published by Smith & Kraus in 2012.
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