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Uta Thyra Hagen (12 June 1919 – 14 January 2004) was a German-American actress and theatre practitioner. She originated the role of Martha in the 1962 Broadway premiere of Who's Afraid of Virginia Woolf? by Edward Albee , who called her "a profoundly truthful actress."
Hagen later said that she "disassociated" herself from Respect for Acting. [1] In a follow-up book, Challenge for the Actor (1991), she renamed "substitution" as "transference". Although Hagen wrote that the actor should "identify" the character they play with feelings and circumstances from their (the actor's) own life, she also makes it clear ...
Uta Hagen played the title role of Georgie Elgin in its original production, with Paul Kelly as her husband Frank, and Steven Hill as theatre director Bernie Dodd. [1] [2] The production was directed by Odets, and ran for 30 weeks, accumulating 235 performances, from November 10, 1950, to June 2, 1951. [2]
47. "The dictionary is the only place that success comes before work.” – Vince Lombardi. 48. "Persistence is the twin sister of excellence. One is a matter of quality; the other, a matter of ...
The original cast featured Uta Hagen as Martha, Arthur Hill as George, Melinda Dillon as Honey, and George Grizzard as Nick. It was directed by Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, Nancy Kelly, Mercedes McCambridge, and Elaine Stritch.
The intrinsic value of the documentary as a historical record is underscored by the fact that seven of the interviewees (Hume Cronyn, Uta Hagen, Al Hirschfeld, Kim Hunter, Ann Miller, Harold Nicholas and Gwen Verdon) died before the film was released in June 2004, and another 51 interviewees have died since then (as of September 2021).
"The only way for prejudiced people to change is for them to decide for themselves that all human beings should be treated fairly. We can't force them to think that way."
Hagen's opinion (backed up by conversations with Brecht himself and the actress who was directed by him in the original production of Mother Courage) was that, for the actor, Brecht always intended it to be about the character's subjective reality—including the direct audience addresses. The very structure of the play was enough to accomplish ...