| The purpose of this dissertation is to examine theoretically and critically the "inspirational" approach of Philip Moeller, primary Theatre Guild director from 1919 to 1939, in order to define the system and its practicality for the modern director. Also, because of the singular nature of this man and the eminent company he helped to build, considerable psychological and historical background is included. Finally, a chronological listing of Moeller's shows and the lengths of their runs is given in the study's Appendix.;A particularly valuable feature of the study is its exclusive testimonies of various professional actors and directors, and of others who knew Moeller of have given otherwise authoritative opinions of him. These include: Stella Adler, Shirley Booth, Joseph Buloff, Morris Carnovsky, Harold Clurman, Claudette Colbert, Cheryl Crawford, Philip Foster, Helen Hayes, Katharine Hepburn, Alan Hewitt, John Hoyt, Joshua Logan, Elia Kazan, Armina Marshall (who still helps run the Guild), Mildred Natwick, Arthur Penn, Alan Schneider, and Sylvia Sidney. Moreover, the author's inspection of Moeller's promptbooks, correspondence and other memorabilia, and of various documents of the Theatre Guild and its predecessor the Washington Square Players, adds to the study's perspective.;On the surface, the system which Moeller called "inspirational" is deceptively simple: extensive experience plus thorough pre-rehearsal preparation equals inspired directing. However, Moeller's unusually long, varied and distinguished record of New York City "hits" seems to indicate that he had a special catalyst to add to this formula. This ingredient may have been the psychological effect of what perhaps should be labeled the "Moellerian myth" of little or no preparation; but there are other considerations too, such as the Guild's famous (or infamous) and collective "Death Watch" rehearsals and its many extraordinary writers and actors. Of related importance is the fact that Moeller, who was also a professional Broadway writer and Hollywood film director, was entrusted by such important writers as Eugene O'Neill, Elmer Rice, S. N. Behrman, Maxwell Anderson and others to revise their scripts as he directed them; furthermore, even George Bernard Shaw allowed Moeller to direct two of his world premieres. |
