Tootsie, and John Guare's 1990 play, Six Degrees of Separation

Ultimately, he becomes the victim of his testify creation and is lastly forced to reveal his true identicalness when the network exercises its option to tie him to a long-term contract. At first, the people who came to know and love Dorothy feel deeply betrayed; in the end, they realize that Dorothy is an important spokesperson of Michael, perhaps even, as he puts it, "the best part."

Hoff piece of music conceived the original concept of the film, and the screenplay was developed by Larry Gelbart and Murray Schisgal. Hoffman cute to produce the film and invite final say in how it would be edited. However, once he brought Sydney Pollack on bill as director, the two disagreed, sometimes vehemently, about many aspects of the film. Joseph M. Boggs reports that Hoffman "finally worked out a bargain with the director, giving Pollack the supreme power of 'final cut.' But Hoffman maintained record and cast favourable reception as well as the right to go into the incisive room" (261). Pollack therefore is the primary artist in what is always a fairly collaborative art.

Pollack's creation is a tremendously satisfying and entertaining film, in large part because it is aesthetically complete. One of the functions of art is to provide a coloring material of reality that offers the kind of completion of experience that real living cannot. As Monroe C. Beardsley describes it, "An artwork is an arrangement of conditions intended to be unfastened of affording an experience with mar

Beardsley, Monroe C. Aesthetics: Problems in the Philosophy of Criticism. Indianapolis: Hackett, 1981.

. . . develops the imagination, and along with it the ability to put oneself in the place of others . . [is] an aid to mental health . . . fosters mutual benevolence and pictureing . . . [and] offers an themel for human life (574-575).

In a discussion in Six Degrees of Separation Ouisa Kittredge observes, "Film is a different medium" from theater (Guare 72), while her daughter reminds her that she detested the musical Cats: "You said Aeschylus did not invent theater to have it end up a bunch of chorus kids query which of them will go to Kitty Kat Heaven" (Guare 72).

However, Aeschylus whitethorn have had something more like John Guare's biting funniness in mind. The play follows a well-to-do couple in Manhattan, Flan and Ouisa Kittredge, who open their home to a young black man claiming to be a friend of their children and the son of actor Sidney Poitier. capital of Minnesota charms them with his courtly manners, his gourmet cooking, and his tales of his movie star father. That night, however, he brings a male hustler into the bed they have given him for the night, and they right away find out that, while their children have no idea who he is, other parents from their same circle have similarly met Paul and been thrilled and then betrayed by his tall tales. When Paul's lies finally catch up with him, Ouisa realizes, "He did more for us in a few hours than our children ever did" (Guare 117).

Guare includes an introduction in his script that spells out the history behind the first production in 1990; he writes, "We used [the] time of casting to discuss the play, to understand the rhythm of the play, to hear what the play wanted to be. All I knew . . . was that it had to go like the wind" (xi). This illustrates one of the more fire aspects of creating an aesthetic object, the artist's discovery. Often, playwrights profess themselves surprised at what directors, actors
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