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Kenneth Tynan

60quotes

Kenneth Tynan: A Visionary Critic and Playwright


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Full Name and Common Aliases


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Kenneth Peacock Tynan was born on April 27, 1927, in Birmingham, England. He is commonly known as Ken Tynan.

Birth and Death Dates


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April 27, 1927 - October 26, 1980

Nationality and Profession(s)


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Tynan was a British playwright, theatre critic, and director. His contributions to the world of theatre span multiple decades, earning him recognition as one of the most influential figures in the industry.

Early Life and Background


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Growing up in Birmingham, Tynan developed an interest in writing at an early age. He attended Christ Church, Oxford University, where he studied English Language and Literature. After graduating, he worked as a journalist for various publications before transitioning to theatre criticism.

Tynan's early years were marked by his involvement with the British theatre scene. He began writing reviews for the _Observer_ in 1952, eventually becoming the paper's youngest theatre critic at just 25 years old. His critiques were known for their insight and wit, gaining him widespread recognition within the industry.

Major Accomplishments


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Tynan's most notable achievement was his collaboration with Laurence Olivier on the production of _Private Lives_ in 1962. He also directed several plays, including _A Scent of Flowers_ and _The Art of Love_. As a playwright, Tynan is perhaps best known for his works _Sondheim & Co._, _What Did I Do to My Life?_, and the autobiographical play _Tynan: In Conversation with Barry Day_.

Notable Works or Actions


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In 1965, Tynan became the first theatre critic to use explicit language in a review when he wrote about the production of Edward Albee's _Who's Afraid of Virginia Woolf?_. This sparked controversy and debate within the industry. However, it also cemented his reputation as a daring and innovative voice.

Tynan was known for pushing boundaries in his work. He believed that theatre should challenge social norms and conventions, often incorporating elements of drama, poetry, and politics into his plays and reviews. His vision for a more progressive and experimental theatre scene left a lasting impact on the industry.

Impact and Legacy


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Kenneth Tynan's legacy is multifaceted. As a critic, he raised the bar for theatre journalism, inspiring future generations of writers to approach their craft with passion and insight. As a playwright and director, his innovative spirit and willingness to take risks paved the way for more experimental works.

Tynan's influence extends beyond the world of theatre. His commitment to social change and progressive values has made him an enduring figure in British cultural history. He continues to be celebrated for his unwavering dedication to artistic integrity and his unrelenting pursuit of innovation.

Why They Are Widely Quoted or Remembered


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Kenneth Tynan's impact on the world of theatre is undeniable. His trailblazing style as a critic, combined with his groundbreaking work as a playwright and director, has cemented his place in history. His unwavering commitment to pushing boundaries and challenging conventions continues to inspire artists and writers today.

Tynan's quotes and writings are often referenced for their wit, intelligence, and insight into the world of theatre. His legacy serves as a reminder that art should challenge us, provoke us, and push us towards new perspectives.

Quotes by Kenneth Tynan

Not content to have the audience in the palm of his hand, he goes one further and clinches his fist.
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Not content to have the audience in the palm of his hand, he goes one further and clinches his fist.
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A neurosis is a secret that you don't know you are keeping.
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A neurosis is a secret that you don't know you are keeping.
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Western man, especially the Western critic, still find it very had to go into print and say: “I recommend you to go and see this because it gave me an erection.”
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Western man, especially the Western critic, still find it very had to go into print and say: “I recommend you to go and see this because it gave me an erection.”
KT
Art is a private thing, the artist makes it for himself.
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Art is a private thing, the artist makes it for himself.
KT
All of life is more or less what the French would call s’imposer, to be able to create one’s own terms for what one does.
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All of life is more or less what the French would call s’imposer, to be able to create one’s own terms for what one does.
KT
If there’s one thing I can’t bear, it’s people who are wise during the event.
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If there’s one thing I can’t bear, it’s people who are wise during the event.
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It is Ireland’s sacred duty to send over, every few years, a playwright to save the English theater from inarticulate glumness.
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It is Ireland’s sacred duty to send over, every few years, a playwright to save the English theater from inarticulate glumness.
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A villain who shares one’s guilt is inevitably more attractive than a hero convinced of one’s innocence.
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A villain who shares one’s guilt is inevitably more attractive than a hero convinced of one’s innocence.
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When you’ve seen all of Ionesco’s plays, I felt at the end, you’ve seen one of them.
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When you’ve seen all of Ionesco’s plays, I felt at the end, you’ve seen one of them.
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A critic is a man who knows the way but can’t drive the car.
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A critic is a man who knows the way but can’t drive the car.
KT
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