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THE STORY: Eros, the god of love, narrates the action of the play in haunting passages akin to the Greek choruses of ancient tragedies. We meet Penny and Philip, newlyweds who have abandoned unhappy marriages to work together on Philip's archeologi
The setting is Sicily, the island where the gods once spent their holidays. The principals are a newlywed couple in their forties, who hope to meld the children of their previous marriages into a brave, new, postnuclear family. But in John Guare's vastly original and eerily beautiful new play, any family may be reconstructed as a tragic pantheon, enacting passion as ancient as the strata of an archaeological dig and as catastrophic as an earthquake.
In the stunningly inventive new play by the author of Six Degrees of Separation, the island of Sicily becomes the setting for a drama enacting passions as ancient as a buried civilization and as catastrophic as an earthquake. This volume also contains seven short plays, including Muzeeka, The Talking Dog, and New York Actor.
The extraordinary tragicomedy of race, class and manners. Copyright © Libri GmbH. All rights reserved.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Best known for his plays Six Degrees of Separation and The House of Blue Leaves, John Guare is a major figure in the contemporary American theater. Other notable works by Guare include Bosoms and Neglect, Landscape of the Body, and the Lydie Breeze series. His career began with off-off-Broadway experimentation in the sixties and continues through the present. In that time Guare has created many imaginative, eccentric plays that reflect the chaos, violence, and loneliness of life in our time. He frequently combines outrageous farce with painfully serious subject matter. This sourcebook is both a convenient reference and a resource for further investigation of Guare's works. The volume chronicles his achievements with a chronology and biographical essay. It also includes summaries of his published and unpublished plays, overviews of the critical reception of each work, production credits, a primary bibliography of dramatic and nondramatic writings, and extensive annotated bibliographies of reviews and other secondary material.
This book, the first full-length study of Guare's theater, will make his plays more accessible through an examination of the often unnerving type of black comedy that makes his plays work.".
Toulon, France: 1754 Senegal, West Africa: 1755 St. Augustine, Florida: 1756 - 1810 Book 3 - Children of the Alliance, 1754 – 1810 is the prequel to the series. The story-within-a-story encapsulates the legendary saga and recounts the life of Juliette and Claude’s ancestor’s, knight-errant and Captain, Françoise J. Reiss III, and Prince Boukar Semou Jolof, a.k.a. Luis Freedman, a former Senegalese prince and freed slave. It’s the Age of Enlightenment on the European, African and North Atlantic continents. It's an era when a racial divide makes most men enemies, but Françoise and Luis sacrifice everything to keep their mixed-race families together. Children of the Alliance will hold you captive to a tumultuous world where trading slaves is second nature and exposes the circumstances surrounding how Juliette’s dowry was acquired by her 4th great-grandfather. *Readers are given a glimpse of their ancestors’ journeys with excerpts in Book 1, Mistaken Legacy, and in Book 2, Heiress and Epithet, as Juliette and Claude discover how the captain acquired Juliette’s heirloom dowry: The decoratively carved ebony chest of rare gemstones.
From the 1960s to the present day, John Guare’s plays have ranged from one-act to cyclic, realistic to surrealistic, naturalistic to experimental, and tragic to comic dramas. This study’s approach to the cornucopia the playwright himself provided when in an interview he gave a fundamental aesthetic principle of his craft. Like a person—and Guare’s plays develop the personal as well as the artistic self—a play must be grounded in reality; only then can it soar. The ground is traditional theatre with characters, no matter how larger than life they can be, and plot, no matter how illogical it can be. The soaring is in interrupting the action with monological narratives and musical interludes, bringing characters back from the dead, and having the action take hairpin turns into a mixture of genres and styles, modes and tones. In verbal and visual images, the flight invokes works by authors as varied as Aeschylus and Whitman, Dante and Feydeau, Verdi and Romberg. Soaring from ground to new ground, the theatre creates the transmission of the American heritage in Lake Hollywood, an idealism corrupted by a fraudulent American Dream in Lydie Breeze, and the recovery of the past in A Few Stout Individuals. As Guare said about his plays: they “interconnect.”