By Moss Hart
The Dramatic tale that Capitvated a Generation
With this re-creation, the vintage best-selling autobiography by means of the overdue playwright Moss Hart returns to print within the 30th anniversary of its unique book. Issued in tandem with Kitty, the unveiling autobiography of his spouse, Kitty Carlisle Hart, Act One, is a landmark memoir that incluenced a new release of theatergoers, dramatists, and normal booklet readers in every single place. The ebook eloquently chronicles Moss Hart's impoverished youth within the Bronx and Brooklyn and his lengthy, decided fight to his first theatreical Broadway luck, Once in a Lifetime. probably the most celebrated American theater books of the 20th centure and an excellent memorial to a bygone age, Act One is full of all of the ask yourself, drama, and heartbreak that surrounded Broadway within the Nineteen Twenties and the years earlier than international battle II.
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Extra info for Act One: An Autobiography
Detail of Church near Pont-Aven from Finistère. the Gothic style, the heavy simplicity and sturdy solidity of the rude columns, archivolts, and granite walls, emphasize its survival from a prior age. The interior provided the artist with an opportunity for subtle harmonies of muted greens and mauves, which enhance the interpretation, and the loose but somewhat dry superimposed paint strokes and patches convey the weighty bulk of the stone (fig. 31). Hovenden’s low-keyed 41 42 CHAPTER 2 32. ), 1876.
Hovenden’s low-keyed 41 42 CHAPTER 2 32. ), 1876. Watercolor and gouache on paper, 4 ן63⁄8 in. Private collection. Courtesy of Spanierman Gallery, New York. and closely toned palette, as well as his paint handling, recalls his own earlier works painted in Paris, rather than Wylie’s darker palette, sharp contrasts of light and shade, and “fatty” application of paint. The treatments of the foregrounds, however, in Hovenden’s Church near Pont-Aven from Finistère and in Wylie’s A Fortune Teller of Brittany are similar: thin layers of underpainting in dark warm tones are covered with cooler tones of thicker paint, creating a realistic density for stone walls and earthen floors.
The title’s refer- FROM “PICTURESQUE” BRITTANY TO PARIS ence was clear to nineteenth-century audiences: “What’s O’Clock” was the name given to the golden, dandelion-like wildflowers in the grass, one of which a young Breton girl has picked. In a moment of pleasurable idleness she blows the flower’s downy feathered seeds to the wind and marks the hour by the number of seeds that remain. The flowers open in the early morning and close in the late evening, telling what o’clock it is by the diurnal cycle of nature.
Act One: An Autobiography by Moss Hart