Posts Tagged ‘drama’
August 26, 2015 | by Sadie Stein
Whenever you hear about the death of another specialty bookstore—RIP Mystery Bookstore! RIP Cookbook Store!—walk over to that unlikeliest bastion of hope, West 40th Street, and breathe a sigh of relief: the Drama Book Shop abides. And it’s not just that the store is a treasure trove of plays and scripts and monologues and a beloved nurturer of theatrical talent, with a Tony Award to prove it. The Drama Book Shop is a testament to one of the few areas where print still reigns supreme.
Newspapers might be threatened by e-readers, technology may have supplanted books, and recipes can be found online in abundance. But scripts? Scripts are necessary. Scripts are tangible. They bow before no millennial’s avowedly shortened attention span. You can highlight on a Kindle, maybe—but can you annotate? Can you plunk it down at a table reading? (The answer is yes, obviously, but it would be harder, significantly harder, and that’s not nothing.) Read More »
June 30, 2015 | by Dan Piepenbring
- “One cannot read a book,” Nabokov famously said, “one can only reread it.” That’s pleasant and all—certainly it flatters our sense of elitism, suggesting that “aesthetic appreciation requires exhaustive knowledge only of the best”—but doesn’t it amount to sophistry? “No reader ever really takes complete control of a book—it’s an illusion—and perhaps to expend vast quantities of energy seeking to do so is a form of impoverishment … Is it really wise to renounce all the impressions that a thousand books could bring, all that living, for the wisdom of five or six?”
- Today in the age of mechanical reproduction: the Smithsonian is 3-D printing prehistoric skulls. They have no intention of trying to pass off the replicas as authentic—they just want to share more of their skulls with the world, and 3-D printing them is the easiest way to do so. “Still, the proliferation of replicas does stand to diminish the value of the real thing. The museums that own the original skulls depend on income from visitors and model making, so the Smithsonian will limit production and keep the skulls’ 3-D ‘blueprints’ to itself.”
- Great news for poets! Bots have obviated the need for your art. They are, in fact, your art. Condolences. “I was thinking of writing a poem about bots, but that’s already so ten minutes ago, and anyway, some bot has already written that poem. Does it matter? These days people are writing poems about fucking on volcanoes. ‘We fucked on a volcano.’ How does that help? … You can expand the poetic field to include ‘we fucked on a volcano’ or even ‘the whole week we fucked on a volcano,’ and you can expand it to include bots, and so what? It’s bigger now … everything is.”
- Relatedly: conversations between bots are nearly indistinguishable from Beckett plays. Bots are dramatists, too.
Z.: Then leave.
Y.: How did you know?
Z.: Just leave.
Y.: You leave.
Z.: I don’t even know how.
- New to the Oxford English Dictionary: twerk, intersectionality, staycation, presidentiable, SCOTUS.
June 11, 2015 | by Dan Piepenbring
- Alice, of Wonderland fame, has osmosed right on into the culture and found a life of her own; we no longer need to read Lewis Carroll’s books to feel that we know her. But we should read Carroll—there’s a certain amount of drift between his Wonderland and the one we think we understand. “Conversations about what is real, what is possible, and how rubbery the rules that govern such distinctions turn out to be abound in the tales of Alice. Yet they are sold as children’s books, and rightly so. A philosopher will ask how the identity of the self can be preserved amid the ceaseless flux of experience, but a child—especially a child who is growing so fast that she suddenly fills an entire room—will ask more urgently, as Alice does, ‘Was I the same when I got up this morning? I almost think I can remember feeling a little different.’ Children, viewed from one angle, are philosophy in motion.”
- This Saturday marks Yeats’s sesquicentennial, an occasion celebrated easily enough by reading his poems—but why not read his plays, which are always given short shrift among his work? In a way, they anticipated Beckett: “What happens in a Yeats play can be startling. Purgatory, for example, verges on the lurid. Its material is the rough red wine of sex and violence: a woman’s lust for her groom and their son’s murderous determination to extirpate her sin in blood. Yeats’s genius is to distill that red wine into a fine but heady spirit, a short, incredibly potent theatrical essence that goes straight to both the head and the guts.”
- Since Jerry Seinfeld declared, earlier this week, that he no longer plays college campuses because they’re “too P.C.”—such a taboo-buster, that Seinfeld, with his wry observations!—many have asked if comedy is in jeopardy. They often lean on the same tired rhetoric about laughter’s potential as a “unifying force”; why? “Comedy isn’t supposed to be anything, except what the comedian tries to make it—harmless, mean, political, dirty, dumb. You wouldn’t say that music or fiction are ‘supposed’ to be anything; so why do we saddle all comedy with a curative democratic mission? Too often we view comedy as a craft, a service brought to us by cheerful comfort-workers, more than the work of serious artists. Thus, when they don’t comfort us, we want to complain to the manager.”
- “I can remember in the Fifties when Goatman would come by, up near Arab, Ala. The first time I ever saw him we were picking cotton in the fields near Arab and he was coming down the road. You could hear him coming a mile away with all the bells and all the pots and pans rattling. People would come by and say, ‘Goatman’s coming! Goatman’s coming!’ We’d all rush to the end of the cotton row to watch Goatman go by.” That’s Ansel Elkins, quoting her father in a new interview about her poems and the South.
- Chinese publishers routinely censor their translations of Western books—and the West just as routinely greets this news with a small shrug. “As the anecdotal evidence started to accumulate, it became clear that though cuts tended to be surgically precise, they were also extremely common. Only rarely was there outrage. Many were fatigued by the idea of having to police all their overseas editions. With international publishing, they argued, something is always going to get lost in translation. Many had simply decided to not worry about it.”
March 27, 2015 | by Joshua Cohen
“A Farce Written in Human Blood,” pp. 70–89
This is the fourth entry in our Mating Book Club. Read along.
So here he is, after all this setup: Denoon—the anthropologist beyond anthropology, the man who until this chapter had been kept behind the margins as if in the wings, behind a curtain. Because his entrance here, now, is a stage entrance—he’s going to give us a performance.
Here we have a party whose entertainment consists of an anthropologist’s lecture costumed as an anthropologist’s debate—with politicians, about politics—in the thickly caked makeup of a play: “A Farce Written in Human Blood: THE DESTRUCTION OF AFRICA ACCELERATED BY HER BENEFACTORS, PRESENT COMPANY NOT EXCEPTED.” The caps are Rush’s. Then there’s this heading: Act II. But where was Act I? Did we miss it? We did. Our unnamed narrator gives us access to Denoon only after he’s finished (verbally) demolishing capitalism (rather, “excoriating the capitalist development mode for Africa”)—socialism is next.
But before we get into Denoon’s “objections to the socialist remedy for Africa,” let’s ask a question: Why did Rush write this section as a drama? Why not as a thoroughgoing narrated scene? Read More »
March 5, 2015 | by Dan Piepenbring
- Anthony Carelli, poetry
- Leopoldine Core, fiction
- Aracelis Girmay, poetry
- Lucas Hnath, drama
- Jenny Johnson, poetry
- Dan Josefson, fiction
- Elena Passarello, nonfiction
- Roger Reeves, poetry
- Azareen Van der Vliet Oloomi, fiction
- Anne Washburn, drama
The Daily is delighted to have selections from work by all the 2015 honorees. Click each name above to read on and learn more about them. Read More »
February 20, 2015 | by Violaine Huisman
Last week, Yasmina Reza, who lives in Paris, came to New York to promote the American publication of her latest novel, Happy Are the Happy. I met her in the lobby of the Carlyle Hotel. As she pointed out, it looks a lot like a hallway, with doors on every side.
Happy Are the Happy isn’t entirely unlike that hallway: the book is a gallery of portraits, with each chapter opening a door on a new scene. Characters pass through each other’s lives—some connected closely, as, say, mothers and daughters, and others linked only casually, as two strangers in a doctor’s office.
Quietly glamorous in light makeup, her dark wavy hair undone, Reza looked slender in a plaid miniskirt and green mohair sweater. In conversation, she seems effortlessly poised and speaks as she writes, with elegant precision. We talked about the frivolous and the profound, what it means to be French, theater today, and Michel Houellebecq.
We were speaking in French; the following is my translation.
Your American publisher, Judith Gurewich, warned me that you don’t like interviews.
It’s not that I don’t like interviews, I don’t like promoting myself. I don’t like the feeling of having to step outside the work in order to sell it. And sometimes professional journalists can be nightmares—they’re only waiting for you to make a faux pas. They have nothing personal invested, they’re not really there. It’s all business.
Like Charlie Rose?
Yes, I refused to go on the Charlie Rose show because he’s a perfect example of that kind of professional journalist, who just asks a series of smart prewritten questions and doesn’t bother listening to the answers. It feels like being faced with a brilliant question machine. It’s a horrible experience that I’d rather not put myself through.
In your play The Unexpected Man—a series of internal monologues between two characters on a train—an aging novelist describes his early works as so far removed that they might as well be someone else’s. At the time you were just starting out as a writer, so you had to be guessing. Now that twenty years have passed, does it feel true?
Writing is so prophetic—at twenty, you already know everything there is to know, you don’t need to have experienced life to be able to write about it. There’s an intuitive phenomenon at work that’s almost clairvoyant. I’m not only speaking for myself. Many other writers have shared this impression. Read More »