Umfang:
1 online resource (233 pages)
ISBN:
9781136720529
Serie:
Routledge Modern and Contemporary Dramatists Ser.
Inhalt:
Maria Irene Fornes is the most influential female American dramatist of the 20th century. That is the argument of this important new study, the first to assess Fornes's complete body of work. Scott T. Cummings considers comic sketches, opera libretti and unpublished pieces, as well as her best-known plays, in order to trace the evolution of her dramaturgy from the whimsical Off-Off Broadway plays of the 1960s to the sober, meditative work of the 1990s. The book also reflects on her practice as an inspirational teacher of playwriting and the primary director of her own plays. Drawing on the latest scholarship and his own personal research and interviews with Fornes over two decades, Cummings examines Fornes's unique significance and outlines strategies for understanding her fragmentary, enigmatic, highly demanding theater.
Inhalt:
Cover -- Title -- Copyright -- Dedication -- Contents -- List of illustrations -- Acknowledgements -- Overview -- PART I The 1960s "Let me be wrong. But also not know it." -- 1 Getting started -- Bohemian roots: growing up in Havana -- Bohemian roots: settling in Greenwich Village -- Tango Palace (1963) -- A metatheatrical conceit -- 2 Off-Off Broadway: the good scene -- Cino, Judson, La MaMa, and others -- The Open Theatre connection -- The Successful Life of 3 (1965) -- The Office (1966) -- Dr. Kheal (1968) -- A Vietnamese Wedding (1967) -- The Red Burning Light Or: Mission XQ3 (1968) -- 3 Key play: Promenade (the apotheosis of Judson) -- The Judson Poets' Theater -- Promenade as a one-act with "a lot of music" in 1965 -- Promenade as a full-length musical in 1969 -- Molly's Dream (1973) -- PART II The 1970s "If we're showing what life is, can be, we must do theatre." -- 4 Finding a way -- New York Theatre Strategy -- Aurora (1974) -- INTAR and the Hispanic Playwrights-in-Residence Laboratory -- Cap-a-Pie (1975) -- Eyes on the Harem (1979) -- 5 Key play: Fefu and Her Friends (turning over the stone) -- Fefu and Her Friends: the basic action -- Fefu and Her Friends: the experimental second act -- Fefu and Her Friends at At the Foot of the Mountain -- Fefu and Her Friends at the Yale Repertory Theatre -- Part III The 1980s "I have to learn how to lead my life." -- 6 Found -- Theater for the New City -- Padua Hills -- Fondness for the Found -- Evelyn Brown (A Diary) (1980) -- A Visit (1981) -- The Trial of Joan of Arc in a Matter of Faith (1986) -- 7 The PAJ Plays -- The Danube (1983) -- "Irene time" -- Mud (1983) -- Sarita (1984) -- The "emotigraph" as unit of construction -- The Conduct of Life (1985) -- The rhetoric of space/the space of rhetoric -- 8 Key play: Abingdon Square (conquering the vagueness) -- Teaching playwriting.
Anmerkung:
Description based on publisher supplied metadata and other sources
,
Cover; Title; Copyright; Dedication; Contents; List of illustrations; Acknowledgements; Overview; PART I The 1960s "Let me be wrong. But also not know it."; 1 Getting started; Bohemian roots: growing up in Havana; Bohemian roots: settling in Greenwich Village; Tango Palace (1963); A metatheatrical conceit; 2 Off-Off Broadway: the good scene; Cino, Judson, La MaMa, and others; The Open Theatre connection; The Successful Life of 3 (1965); The Office (1966); Dr. Kheal (1968); A Vietnamese Wedding (1967); The Red Burning Light Or: Mission XQ3 (1968)
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3 Key play: Promenade (the apotheosis of Judson)The Judson Poets' Theater; Promenade as a one-act with "a lot of music" in 1965; Promenade as a full-length musical in 1969; Molly's Dream (1973); PART II The 1970s "If we're showing what life is, can be, we must do theatre."; 4 Finding a way; New York Theatre Strategy; Aurora (1974); INTAR and the Hispanic Playwrights-in-Residence Laboratory; Cap-a-Pie (1975); Eyes on the Harem (1979); 5 Key play: Fefu and Her Friends (turning over the stone); Fefu and Her Friends: the basic action; Fefu and Her Friends: the experimental second act
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Fefu and Her Friends at At the Foot of the MountainFefu and Her Friends at the Yale Repertory Theatre; Part III The 1980s "I have to learn how to lead my life."; 6 Found; Theater for the New City; Padua Hills; Fondness for the Found; Evelyn Brown (A Diary) (1980); A Visit (1981); The Trial of Joan of Arc in a Matter of Faith (1986); 7 The PAJ Plays; The Danube (1983); "Irene time"; Mud (1983); Sarita (1984); The "emotigraph" as unit of construction; The Conduct of Life (1985); The rhetoric of space/the space of rhetoric; 8 Key play: Abingdon Square (conquering the vagueness)
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Teaching playwritingLovers and Keepers (1986); Abingdon Square: genesis and production history; Abingdon Square: Marion as Fornes Innocent; Abingdon Square: the process of imagination; "The Poetry of Space in a Box:" scenography and Fornes's orchestration of space; PART IV The 1990s"Where are we in relation to all this?"; 9 The Night Plays; What of the Night? (1989); Oscar and Bertha (1992); Enter the Night (1993); Manual For a Desperate Crossing (Balseros/Rafters) (1997); Terra Incognita (1997); 10 Coming to an end; The Summer in Gossensass (1998); Fornes and Hedda Gabler
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Letters from Cuba (2000)Legacy; Drowning as paradigm; "This must be made by a person."; Appendix A: selected production history; Appendix B: plays in publication; Bibliography; Index;
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the good scene -- Key play: Promenade (the apotheosis of Judson) -- The 1970s. Finding a way -- Key play: Fefu and her friends (turning over the stone) -- The 1980s. Found -- The PAJ plays -- Key play: Abingdon Square (conquering the vagueness) -- The 1990s. The night plays -- Coming to an end
Weitere Ausg.:
ISBN 9780415454346
Weitere Ausg.:
Erscheint auch als Druck-Ausgabe ISBN 9780415454346
Sprache:
Englisch
Schlagwort(e):
Electronic books
URL:
https://ebookcentral.proquest.com/lib/kxp/detail.action?docID=1047162
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