Synopsis
A renowned actress's charming, opinionated, and wise memoir of her tenure at the National Endowment for the Arts brings humor and human dimension to the politics of art and the art of politics.. Renowned actress Jane Alexander had attended her share of protest marches in the 1960s and 1970s, but she had never been involved in mainstream politics and was happily engaged in her acting career when she was asked to consider becoming head of the ever-embattled National Endowment for the Arts. This witty, entertaining account of her tenure there brings a Washington outsider's perspective and an actor's eye for the telling human detail to the often stultifying subject of bureaucratic politics.Alexander's NEA tenure coincided with the ascent of the Gingrich Congress and its attempt to sabotage arts funding. In Command Performance she offers a sharp and sometimes hilarious take on those sometimes surreal days, and a gimlet-eyed portrait of Washington at work, play, and cocktail reception. Whether she is listening to Gingrich suggest to Melanie Griffith that there's a part for her in the movie version of his novel, trying without much success actually to talk to the president who hired her, traveling the inspiring landscape of the American arts scene, gracefully skewering the poseurs and politicos who crossed her path, or documenting her own uncomfortable adjustment to political reality and brutality, Alexander is charming, disarmingly honest, and convincingly passionate on why we need art, and why the government should be in the business of supporting it. Renowned actress Jane Alexander had attended her share of protest marches in the 1960s and 1970s, but she had never been involved in mainstream politics and was happily engaged in her acting career when she was asked to consider becoming head of the ever-embattled National Endowment for the Arts. This witty, entertaining account of her tenure there brings a Washington outsider's perspective and an actor's eye for the telling human detail to the often stultifying subject of bureaucratic politics. Alexander's NEA tenure coincided with the ascent of the Gingrich Congress and its attempt to sabotage arts funding. In Command Performance she offers a sharp and sometimes hilarious take on those sometimes surreal days, and a gimlet-eyed portrait of Washington at work, play, and cocktail reception. Whether she is listening to Gingrich suggest to Melanie Griffith that there's a part for her in the movie version of his novel, trying without much success actually to talk to the president who hired her, traveling the inspiring landscape of the American arts scene, gracefully skewering the poseurs and politicos who crossed her path, or documenting her own uncomfortable adjustment to political reality and brutality, Alexander is charming, disarmingly honest, and convincingly passionate on why we need art, and why the government should be in the business of supporting it. * For anyone interest ed in Washington, in the arts and arts issues, and in Alexander's life as a woman and actress Full of amusing profiles of and anecdotes about political and show business celebrities from Jesse Helms to Garth Brooks; Al D'Amato to Katharine Graham * Alexander's stature as one of the most respected theater artists of our time make her take on arts issues noteworthy in the arts community .
Présentation de l'éditeur
Jane Alexander had never been involved in mainstream politics and was happily engaged in her acting career when she was asked to consider becoming head of the embattled National Endowment for the Arts in the early 1990s. When, during her first visit to the Hill, Senator Strom Thurmond barked at her, "You gonna fund pornography?" she knew it would be a rough ride. Nothing had quite prepared her for the role of madame chairman. Her tenure coincided with the ascent of the infamous 104th Congress, presided over by Speaker Newt Gingrich, and its campaign to eliminate the Endowment completely. In Command Performance, Alexander brings a Washington outsider's perspective and an actor's eye for the telling human detail to an anecdote-filled story of the art of politics and the politics of art. And at the start of a new administration in Washington, she reminds us why we need art and why government should be in the business of supporting it.
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