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From the Pulitzer Prize-winning author of Angels in America comes this powerful portrayal of individual dissolution and resolution in the face of political catastrophe. “It’s brash, audacious and...intoxicatingly visionary.”—Sid Smith, Chicago Tribune
Many modern playwrights have dramatized the process of theatrical creation within their plays. In doing so, they have disregarded the "do not disturb" sign on the rehearsal room door, and have opened the art of theater to a particular kind of scrutiny. This scrutiny is unusual given the long-standing tradition of secrecy that surrounds theatrical rehearsal. Viewing modern drama generally as a drama that juxtaposes authority and freedom, and viewing contemporary criticism as essentially an extended debate on the issue of meaning's closure, this study invokes the critical perspectives M. M. Bakhtin, Roland Barthes, and Bertolt Brecht to create a general theory of rehearsal practice that differentiates it from the practice of performance. Working with notions of textual authority explored in a variety of critical contexts, this volume attempts to explore the theoretical ramifications of metatheatrical representations of rehearsal.
A key way to view Latina plays today is through the foundational frame of playwright and teacher, Maria Irene Fornes, who has transformed American theatre. Considering Fornes's legacy, Anne García-Romero shows how five award-winning playwrights continue to contest and complicate Latina theatre.
One of Off-Broadway's best-loved plays, originally directed by the author. The audience follows the lives of eight women. For this play, Maria Irene Fornes received one of her nine Obie awards. "A wonderful, important play." Susan Sontag "Fornes is America's truest poet of the theater." Erika Munk "An extraordinary play of uncommon insight and wit." Los Angeles Herald Examiner "One of the most powerful plays written about the mysteries and shared hallucinations of the female experience." L A Weekly "Though written in 1977, the message of FEFU AND HER FRIENDS remains ever the same: women don't know what to do with feminism. Or rather, they don't know what to do with themselves. It's a strange, unsettling play, not least because the strong women characters are at a loss with each other and with themselves. Without a man to center around, they disintegrate into cattiness and then madness. Fefu is probably deranged to begin with. She 'pretends' to shoot her husband with a gun that may or may not be loaded. She likes men better than women and in fact finds women 'loathsome.' Fefu and her friends are a group of society women, circa 1935. They're bored and affected in the manner of wealthy women who have too much free time. The play begins with plans for a charity benefit being planned at Fefu's New England estate. During the second part, four different scenes play simultaneously in four different rooms. The audience is led around to each in no particular order. In the final act, the women turn giggly, then bitchy, and then everything takes a tragic turn. Though not a realistic play neither is it strictly allegorical...at the heart of the play [is] 'a provocative statement about women to this day.' Fornes's self-loathing, self-doubting women only gradually come to understand the glossy surface and the dark underbelly that is the dual reality of their lives. It's thought-provoking but challenging, not for those who enjoy escapism in their theatre." Jenny Sandman, CurtainUp"
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Maria Irene Fornes provides an enlightening introduction to a pivotal figure in both Hispanic-American and experimental theater. From her theatrical origins in 1960s Cuba to her precedent plays for the US stage, this book presents an important guide of work of this politically-charged playwright.
By the age of nine, I will have lived in more than a dozen countries, on five continents, under six assumed identities. I’ll know how a document is forged, how to withstand an interrogation, and most important, how to disappear . . . To the young Cheryl Diamond, life felt like one big adventure, whether she was hurtling down the Himalayas in a rickety car or mingling with underworld fixers. Her family appeared to be an unbreakable gang of five. One day they were in Australia, the next in South Africa, the pattern repeating as they crossed continents, changed identities, and erased their pasts. What Diamond didn’t yet know was that she was born into a family of outlaws fleeing from the highest international law enforcement agencies, a family with secrets that would eventually catch up to all of them. By the time she was in her teens, Diamond had lived dozens of lives and lies, but as she grew older, love and trust turned to fear and violence, and her family—the only people she had in the world—began to unravel. She started to realize that her life itself might be a big con, and the people she loved, the most dangerous of all. With no way out and her identity burned so often that she had no proof she even existed, all that was left was a girl from nowhere. Surviving would require her to escape, and to do so Diamond would have to unlearn all the rules she grew up with. Wild, heartbreaking, and often unexpectedly funny, Nowhere Girl is an impossible-to-believe true story of self-discovery and triumph.
Author : W. B. Worthen Publisher : Univ of California Press Page : 241 pages File Size : 48,7 Mb Release : 2015-02-14 Category : Performing Arts ISBN : 9780520963047
Modern Drama and the Rhetoric of Theater by W. B. Worthen Pdf
The history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience. How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the "natural" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast, openly places the audience at the center of its rhetorical designs, and the drama of the postwar period is shown to develop a range of post-Brechtian practices that make the audience the subject of the play. Worthen's book deserves the attention of any literary critic or serious theatergoer interested in the relationship between modern drama and the spectator.
The Theater of Maria Irene Fornes by Marc Robinson Pdf
Throughout the anthology, textual analysis is balanced with production criticism. Contributors assess Fornes's connection to the various traditions that have claimed her--absurdism, realism, and surrealism, among others. Several critics reveal Fornes's range by delving deeply into individual plays, particularly the landmark Fefu and Her Friends. Her work as a director is captured in rehearsal logs, interviews with her actors, and a sampling of production reviews from 1965 to 1993. The anthology closes with Fornes's own views on her work, in statements and interviews from each stage of her career. More than twenty production photographs accompany the text.