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Martin Duberman, historian and biographer, discusses his latest work which focuses on the singer, actor, and political activist Paul Robeson. Robeson was known for his performance in Showboat and Emperor Jones.
Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. In conclusion, Marlon Brando added that his being a famous actor posed an ugly and difficult burden to his son.
Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. In a surprising twist, Marlon Brando asks Studs Terkel why he is so obsessed with asking people so many questions and Terkel’s reply was curiosity.
Content Warning: This conversation includes racially and/or culturally derogatory language and/or negative depictions of Black and Indigenous people of color, women, and LGBTQI+ individuals. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion. Self-righteousness and values are topics covered by Marlon Brando. Here in the states, Brando said, we are living a dream. We do not want strife in our lives, and yet he says it seems as though we seek it.
Actress Lillian Gish joins Studs Terkel to talk about her role in the play “Passage to India.” Gish connects the play based on a book by E. M. Forster to “Uncle Tom’s Cabin,” and discusses the relevance and importance of historical works like those mentioned. Studs asks Gish about working with D. W. Griffith, and the two praise Griffith’s impact on the world of film; Gish comments on her experience with working with Charles Laughton too.
Although she came from a family with a musical background, Lila Kedrova went into acting. A friend of her father, Feodor Chaliapin, played a part in influencing Kedrova into performing. Kedrova said she's been acting since she was eight. After her role as Madame Hortense, Kedrova said she wanted to play many other types of roles.
Eleanor Bron explained that audiences want something new from actors all the time. Bron said she was leery of all the newness because people would get bored. John Bird added that at times, it's difficult to be creative. In the end, they both spoke of their looking around for a two-person show to do together.
Eleanor Bron said television provided its audience with too many facts. Bron also said it’s dreadful to hear about all the misery and tragedy going on in today’s world. In contrast, John Bird said the television offered its audience an opportunity to learn more about world affairs. Switching to the topic of theatre, Bron said she preferred working in the theatre because, as an actor, she has more control over what’s done at every performance. In contrast again, Bird said he did not like acting on the stage.
In addition to talking about Noel Coward's plays, both Jessica Tandy and Hume Cronyn talk about the difficulties in acting. Getting rid of her accent is one of Tandy's hurdles. Cronyn revealed being able to give the same performance night after night and get the same reaction from audiences was his difficulty.