By Moss Hart
The Dramatic tale that Capitvated a Generation
With this new version, the vintage best-selling autobiography through the overdue playwright Moss Hart returns to print within the 30th anniversary of its unique e-book. Issued in tandem with Kitty, the unveiling autobiography of his spouse, Kitty Carlisle Hart, Act One, is a landmark memoir that incluenced a iteration of theatergoers, dramatists, and common publication readers in all places. The e-book eloquently chronicles Moss Hart's impoverished early life within the Bronx and Brooklyn and his lengthy, decided fight to his first theatreical Broadway luck, Once in a Lifetime. the most celebrated American theater books of the 20 th centure and a wonderful memorial to a bygone age, Act One is stuffed with the entire ask yourself, drama, and heartbreak that surrounded Broadway within the Nineteen Twenties and the years ahead of global battle II.
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Additional resources for Act One: An Autobiography
You desire recognition so strongly that you become fixated on the Other—even as the Other continues to fixate you with its gaze into something you are not. It becomes a vicious cycle, in which appeals for recognition take on an increasingly desperate form. You appeal to the Other on the basis of its mores and values, hoping that by denying your attributes you will gain the recognition you deserve. You hate yourself for who you are in order to obtain the love that you aspire to receive. This is the inferiority complex that is so often associated with racial and ethnic discrimination.
Saint-Alban would prove to be a critical experience in Fanon’s life, as it was here that he learned about the principles of “socio-therapy” from its director, François Tosquelles, and gained hands-on experience in practicing it. The Experience at Saint-Alban Fanon’s work as a psychiatrist will be explored in greater detail in chapter 3. Two points need to be singled out here. 24 Hudis FF 01 text 24 04/06/2015 14:02 The Path to Political and Philosophical Commitment First, Tosquelles’s socio-therapeutic approach—which represented an effort not to control or repress the mentally ill but to listen to them and provide resources that could enable them to deal with their problems in a group environment—was developed as part of a political project.
This perspective, drawn from his reading of Hegel, involves Fanon in a tricky navigation through the politics of negritude. It is negritude, after all, that Sartre had referred to as “a weak stage”—a mere phase on the way to the “true” revolutionary consciousness, class consciousness. Fanon is by no means uncritical of negritude in Black Skin, White Masks. ”69 It appears that many of the negritude poets are falling into precisely the kind of racial essentialism that Fanon has taken issue with in insisting there is no ontology of blackness.