The universe and the playwright
It takes a rare kind of playwright to evoke the head-spinning contradictions in our national political psyches.
A play that updates European absurdist techniques to take aim at liberal America’s great existential troubles: race and gender.
This guide is for women who feel that they will soon be engaged in a new revolution to overthrow the soul-crushing social codes that govern their sexual, professional, and familial lives.
“Women in Denmark should be both women and men at the same time, but ‘men’ and ‘women’—what does that mean?”
“There’s the scientific and mathematical—how stuff is—and there’s the prosaic, the poetic—how people are.”
New York sees two of the playwright’s most recent works performed this fall, The Flick and John. She talks with Kan about her fondness for Chekhov’s plays, writing for certain actors, and the music of speech.
Madness, melodrama, mundanity, and the legacy of Antonin Artaud.
While the now-accepted wisdom is that Bertolt Brecht was one of the major dramatists of the past century, this same acceptance often tends to obscure the most unique aspect of his work, namely: his struggle through the decades to find new ways to present his deep political and social commitment—not just in his subject matter, but, equally, in the formal strategies of his distinctive theatrical form.
David Greenspan’s plays are at once grotesque and beautiful; they pontificate on meta-theater and self-consciousness, while remaining familiar and intimate.
“I went through a period in my twenties when I really resented the pressure to be happy that I felt from my parents and from the world at large, because aspiring to be happy doesn’t always lead to the most interesting life.”
“All art aspires toward music, so I try, as far as I can, to make a symphony out of the language.”
The two playwrights and performers on the drawbacks of being in constant production mode versus the pleasures of, and requirements for, the incubation of plays: a dose of folly and wonderment.
Belgian director and playwright Jan Lauwers of Needcompany in discussion with fellow dramatist Elizabeth LeCompte of The Wooster Group on the parallel lives of their respective companies and the upcoming performance of The Deer House at BAM.
“I don’t think about the audience. If I thought about the audience, I’d be writing Rent.”—Cynthia Hopkins
Oskar Eustis, the Public’s Artistic Director, and his collaborator, Hewes Award-winning set designer David Korins. Having recently collaborated on Passing Strange, among other productions, the two discuss how process makes perfect.
Jefferson describes Bradshaw’s plays as treacherous territories peopled with high-achieving suburbanites and professors gripped by sexual and racial manias. Their most dangerous quality: they act on pure id.
I didn’t grow up going to the theater, so plays for me were instructions for imagining (or also, I gathered, enacting) bizarre performance events, and curious printing practices had arisen to reproduce this unwieldy information.