Dumbocracy in America: Studies in the Theatre of Guilt, 1987-1994 (Hardcover)

by Robert Brustein (Author)

Editorial Reviews

From Publishers Weekly
Other drama critics have opinions; Brustein has a point of view about the theater. Readers of his reviews in the New Republic, from which most of this collection is drawn, and of such books as Reimagining American Theatre know that he prefers the classics and challenging, avant-garde productions to the realistic, generally domestic American drama he terms "the theatre of guilt," and that he is a vehement defender of high art against what he sees as the encroachments of popular culture, political correctness and multiculturalism. These basic tenets are laid out in the book's first section, "Positions," which has a slightly hysterical tone (most notably in the title essay) that may well alienate those not in perfect agreement with Brustein's unabashedly elitist position. The reviews collected in "Performances," however, reveal that whatever one thinks of his premises, the mere fact that Brustein has a coherent set of ideas about what theater should be makes him a passionate and perceptive critic. Recent plays like George C. Wolfe's Jelly's Last Jam and Edward Albee's Three Tall Women come to life in his vivid descriptions, and he is open-minded enough to see merit in works like Tony Kushner's Angels in America, with whose political stance he is not in sympathy. The closing section, "Profiles," highlights his less combative side in portraits of people he admires, including Joe Papp and Lionel Trilling. All the essays, good and bad, are never less than provocative and interesting.
Copyright 1994 Reed Business Information, Inc.

From Library Journal
In this eloquent and thought-provoking collection of essays, reviews, and profiles, Brustein (Reimagining American Theatre, LJ 6/15/91) focuses on the theater as a mirror of American culture in the 1980s and 1990s. As the founder and artistic director of the American Repertory Theatre at Harvard University, former dean of the Yale School of Drama, and theater critic for the New Republic, the author occupies a highly respected spot in the theater world. His overriding concern is that the contemporary theater has become so cause-oriented and politically correct that its chief function is to arouse the guilt of the audience. He believes, furthermore, that creativity is diminished as a result of this conformity to social agendas. Brustein also tackles government involvement in the arts and the influence of the New York Times. A worthwhile addition to theater arts collections.
Howard E. Miller, Blue Cross & Blue Shield of Missouri Lib., St. Louis
Copyright 1994 Reed Business Information, Inc.

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Product Details

• Hardcover: 287 pages
• Publisher: Ivan R. Dee, Publisher; First Edition edition (October 25, 1995)
• Language: English
• ISBN-10: 1566630606
• ISBN-13: 978-1566630603
• Product Dimensions: 9.1 x 6 x 1.1 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
• Amazon.com Sales Rank: #1,577,598 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars A Splash of Cold Water..., June 15, 2002

By	"encolp1850" (Tenn.-- Pittsfield; Pfaff's; and Petitpas'...) - See all my reviews

I had bever heard of Mr. Brustein nor read anything
by him before I happened across this title in some
Amazon.com searching. But the title was so provocative,
and the editorial reviews so promising, I decided to
order the book. I am glad that I did. Mr. Brustein has
some valuable things to say, and he is not
afraid to say them...no matter whose opinion
or ego gets offended or miffed.
The book cover says: "Mr. Brustein, theatre critic for
_The New Republic_ and the author of a number of
distinguished books on theatre and drama...is the
founder and artistic director of the American Repertory
Theatre at Harvard University."
The book is divided into 3 main sections: "Positions"
(7 articles on various aspects of the theatre, drama,
and cultural intrusions); "Performances"
(29 reviews written for _The New Republic_); and
"Profiles" (8 articles on various cultural luminaries).
Mr. Brustein very forthrightly lays out his
perspective in the "Introduction": "But if this
book has a single theme, it is that culture cannot
do the work of politics. ...While political thinking
could certainly benefit from a little more creative
imagination, it is my belief that creative activity
is almost invariably diminished when it conforms
to ideology. The measure of a nation in history is
not the wars it wins, or the laws it passes, or even
the programs it enacts, but rather what Arthur
Schlesinger, Jr., has called 'its character and
achievement as a civilization.' ...My absolutes,
then as now, have been the independence of the
dramatic artist and the integrity of dramatic
art, which need to be continually guarded against
any forces that might compromise or debase them."
In the title essay, "Theatre of Guilt," Brustein
gets the juices flowing and the blood pressures
rising with his candid, tell-it-like-it-is
(not as devoted disciples of various causes
might want to hear it--or believe it) observations.
"In its American manifestations, in fact, the
Theatre of Guilt has tended to be not just rhetorical
but even shrill and self-righteous. ...Some years ago
I described this genre as 'plays you're not allowed
to hate'[perhaps because the drama is bad, not because
the message is bad or wrong] of their inspirational
themes and morally elevated characters: 'In the past,
this used to be a political drama.... More recently,
it has almost exclusively featured ethnic and sexual

minority groups, thus increasing the quota of moral
extortion [a bit misguided here...no one forces anyone
to go to a play, and the salary of the critic is not
paid or subject to the intimidations of the dramatist
and his or her angered friends).
To fail to respond to plays about blacks or women
or homosexuals, for example, is to stand accused of racism,
sexism, homophobia, or getting up on the wrong side of
the bed.... Meanwhile, the theatre becomes an agency
for consciousness raising [though in a certain sense,
Mr. Brustein, it always has been--the question is:
what is the consciousness that is being raised?],
with audiences being tutored and entertained for
considerably less money than a modest contribution
to an effective rehabilitation program.'[Perhaps it is
the corrupt and corrupting society which needs to be
"rehabilitated" rather than the supposed "misfit."
Not a new or alien idea in novels or drama.]
My tone is flip, not because I find the causes
unsympathetic [hmm?] -- far from it -- but because I do not
believe the theatre to be either a suitable or effective
place for social reform and moral black mail."
[There is, of course, a significant difference
between a play which causes the audience to think
about aspects of society and life and humanity
in ways that are insightful and moving, as opposed
to shallow "cause" pandering or knee-jerk cheerleading.]
Mr. Brustein is an equal-opportunity critic of the
Right as well as of the Left, for their intrusions
of control or absurdity into the theatre, the Arts,
and the dramas of life. He shows this most pointedly
in the two articles titled "The War on the Arts, I"
and "The War on the Arts, II." "Although the ongoing
war on the arts contains important economic components
related to the recession, its thrust has been mainly
political. Anti-art forces advance by means of a three-
pronged incursion--from the right, left, and center
of the political spectrum, all claiming endorsement
from the majority. ...For just as moral correctness
provides ammunition against the arts for the militaristic
Right, so the war machine on the Left is run by political
correctness. ...The final assault on the arts comes
from the center, and is reflected in the way middle-
brow culture is currently being enshrined in the
pantheon of artistic achievement. ...those who
proselytize for the middle always need to denigrate
the high.... One way to kick sand in the face of the
guy with the glasses is to call him a snob. ...It's not
enough for middle-brow stuff [finally an appropriate
use of the word!] to top the best-seller lists or
dominate award ceremonies. It also has to be inducted
into the canon of preferred art."
[Perhaps there is too much conflict, disdain, and non-
listening between the various "brows" as it is. If
the middle thinks it deserves more air time for its
own yahooing and self-worship, maybe it is because
they have the numbers. And, for them, numbers, not
carefully examined ideas, make "truth."
Everyone "thinks" the way I do, so there are more
of us -- so we're right.
Q.E.D.]