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  1. Morris Carnovsky (September 5, 1897 – September 1, 1992) was an American stage and film actor. He was one of the founders of the Group Theatre (1931-1940) in New York City and had a thriving acting career both on Broadway and in films until, in the early 1950s, professional colleagues told the House Un-American Activities Committee that ...

  2. Morris Carnovsky. Actor: Cyrano de Bergerac. Morris Carnovsky was one of the more prominent victims of the Hollywood blacklist, being named as a Communist party member by both Elia Kazan -- the most infamous of the informers who sang before the House Un-American Activities Committee in the era blacklistee Lillian Hellman called the "Scoundrel ...

  3. Morris Carnovsky was an American actor who excelled in dialectal character roles and who was acclaimed on both stage and screen in his portrayals of thoughtful, troubled men. After making his New York City stage debut in The God of Vengeance (1922), Carnovsky joined the Theatre Guild’s acting.

  4. Sep 2, 1992 · Morris Carnovsky, a pipe-smoking character actor who endured the blacklist of the 1950's to triumph in Shakespeare, died yesterday at his home in Easton, Conn. He was 94 years...

  5. Morris Carnovsky was an American stage and film actor. He was one of the founders of the Group Theatre (1931-1940) in New York City and had a thriving acting career both on Broadway and in films until, in the early 1950s, professional colleagues told the House Un-American Activities Committee that Carnovsky had been a Communist Party member.

  6. Sep 3, 1992 · Morris Carnovsky, the craggy-faced classical character actor who late in his lengthy career mastered Shakespeare after having prevailed over a congressional blacklist, has died at the age...

  7. Overview. Morris Carnovsky. (1897—1992) Quick Reference. (1897–1994), highly respected American actor, mainly in supporting roles, who made his New York début in Sholom Asch's God of Vengeance (1922). He was with the Theatre Guild, 1924–30, his ... From: Carnovsky, Morris in The Concise Oxford Companion to the Theatre »