By Christopher Bigsby
The playwrights coated during this learn have between them received many of the on hand awards and skilled substantial good fortune within the theater. they've got now not, even though, came across their means so simply into the educational canon. Christopher Bigsby examines, in a few aspect, the constructing careers of a few of America's such a lot attention-grabbing and unique dramatic expertise: John Guare, Tina Howe, Tony Kushner, Emily Mann, Richard Nelson, Marsha Norman, David Rabe, Paula Vogel, Wendy Wasserstein, and Lanford Wilson. as well as the recognized works, Bigsby discusses a few of their newest performs to arrive the degree. This energetic and obtainable ebook may be of curiosity to scholars, students and common theatergoers alike.
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Additional info for Contemporary American Playwrights
Gardenia and Lydie Breeze, he suggests, ‘deal with people trapped, thrilled and haunted by a speciﬁc golden time in their youth’ (p. ). The challenge of the third in the sequence was ‘to write a play in the present tense’ (p. ). Women and Water was to be ‘an adventure play where the people are moving too rapidly to remember, people so young they don’t have anything to remember’ (p. ). The challenge was to ‘write a play where the poetry lies not in the language but in the events themselves. To write not about the memory of a golden time but to write the golden time itself ’ (p.
I’m curious as to what kind of scene you want us to play ’(p. ), remarks Jeremiah. He oﬀers a melodramatic scenario. But Joshua’s burden is that he has only one role. He is a murderer. His act of violence has deﬁned him as surely as an actor forced to play a single role throughout his life. Indeed he invokes James O’Neill, father of the playwright, who made his fortune and ruined his art and perhaps his life by repeatedly playing the Count of Monte Cristo until he was deﬁned, as an actor, by that role.
The ‘power that comes from being around power’ (p. ) is denied her. Jeremiah, meanwhile, apologises to Beaty for infecting her as a youth, a time when he had ‘felt strength . . power’, not the power of authority (though that, too, he possessed, she being a servant), but that which was a product of youth, of feeling, suddenly, in tune with the world: ‘We shimmered together’ (p. ). But power, he now feels, poisons, even a power born out of nature’s gift of sexual autonomy, the puberty which the young Lydie fears.