Kenneth Tynan Quotes (1927-1980)

“How far should one accept the rules of the society in which one lives? To put it another way: at what point does conformity become corruption? Only by answering such questions does the conscience truly define itself.”

“I attacked those Western playwrights who use their influence and affluence to preach to the world the nihilistic doctrine that life is pointless and irrationally destructive, and that there is nothing we can do about it. Until everyone is fed, clothed, housed and taught, until human beings have equal leisure to contemplate the overwhelming fact of mortality, we should not (I argued) indulge in the luxury of "privileged despair."”

“All the apprehensions that surface in Brooks's comedy have the same eventual source: a fear — or, to put it more positively, a hatred — of death.”

“Webster is not concerned with humanity. He is the poet of bile and brainstorm, the sweet singer of apoplexy; ideally, one feels, he would have had all his characters drowned in a sea of cold sweat. His muse drew nourishment from Bedlam, and might, a few centuries later, have done the same from Belsen.”

“John Osborne spoke out in a vein of ebullient, free-wheeling rancour that betokened the arrival of something new in the theatre – a sophisticated, articulate lower-class. Most of the critics were offended by Jimmy Porter, but not on account of his anger; a working-class hero is expected to be angry. What nettled them was something quite different: his self-confidence. This was no envious inferior whose insecurity they could pity.”

“He [Welles] was an onlooker at the clumsy, poignant suicide of "The Man on the Ledge," which took place in New York in 1938, when a boy perched for fourteen hours on a window-sill of the Gotham Hotel before plunging into the street. "I stood in the crowd outside for a long time," Welles says pensively, "and wanted to make a film of it all. But they tell me that in the Hollywood version of the film they gave the boy a reason for what he did. That's crazy. It's the crowd that needs explaining."”

“Lenny Bruce (The Establishment) [is] the most original, free-speaking, wild-thinking gymnast of language this inhibited island has ever engaged to amuse its citizens. Mr. Bruce is dark-hatred, dark-suited and American; and the virulent, free-associating manner in which he excoriates the hypocrisies of his compatriots has earned him the epithet "sick." He is in fact pan nihilist, part moralist. He slouches around the stage clutching a microphone, smiling as he improvises, caring as he smiles, seldom repeating in the second show what he said in the first, and always conducting what amounts to a rush job of psychoanalysis on the audience he is addressing. He talks about the nuances of race relations (viz. the white liberals who worship Negroes but somehow never meet them) ... about the techniques of masturbation and the psychological duplicity ("a horny hoax") involved in sleeping with a prostitute; about pain, and laughter, and dying. At times Mr. Bruce drawls and mumbles too privately, lapsing in to a welter of Yiddish phrases borrowed from the show-business world that reared him. ... But at the end he had broken through frontiers of language and feeling that one had hitherto thought inviolable ...”

“The hero of Tynan Right and Left is, as the title suggests, Tynan. The ostensible subject matter is of course wider, for the book consists of Tynan's writing over the past 10 years, not only in his capacities as theater and cinema reviewer but also as the author of occasional pieces, interviews and essays on a wide variety of people … But whatever he is writing about Tynan never forgets the subject on which he is the leading world expert: namely Kenneth Tynan, cultural journalist, moralist, socialist. "Occupation: opinion-monger observer of artistic phenomena, amateur ideologue."”

“Ken, the Tot of Destiny, had turned into the Marquis de Sade, and I in response had become a virago.”