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This anthology marks the emergence of one of the finest and most innovative new artists writing for the theater today. “The secret of Shinn’s success is in the way he exploits the dramatic gap between what is said and that which is left unsaid . . . writing like this is rare,” said the London Independent. Where Do We Live, the title play, was written shortly after 9/11 and though never referenced, it still haunts this chronicle of the struggles of several aspiring and gifted young New Yorkers on the Lower East Side. Like all his work, it is a deeply affecting story of how we define our lives and our place in the world. The Coming World “Shinn certainly looks like a shining prospect for the future.”—Daily Telegraph Four “Nothing is simple emotionally. The play keeps delivering small shocks and aches that end in a standoff, or maybe in that pause between despair, resignation and a twinge of hope. Haunting.”—Margo Jefferson, The New York Times Other People “Shinn writes with graceful compassion about people trapped inside their own skins unable to make sense of their lives.”—The Guardian What Didn’t Happen “. . . is about the distance between people, and the ways in which even friends, spouses and lovers are ultimately unknowable to one another . . . a playwright to cherish.”—The New York Times Christopher Shinn’s plays have been produced at Playwrights Horizons, Manhattan Theatre Club, the Vineyard Theatre in New York and often at London’s Royal Court Theatre. Where Do We Live received a 2003 Olivier Award nomination for most promising playwright. His next play, On the Mountain, premieres in New York City early in 2005.
Numerous studies have revealed that the poor disproportionately bear the burden of environmental problems in America today. Issues range from higher levels of poisonous wastes, carbon dioxide, and ozone, to greater than normal incidences of asthma and lead poisoning. The environmental justice movement, which has emerged in working class and low-income African American and Latino communities since the early 1990s, is an effort that is reinterpreting the definition of the environment as where we live, work, and play to connect new constituencies traditionally outside of the postwar environmental movement. Novotny documents this expanding constituency through case studies of four community groups ranging from South Central Los Angeles to Louisiana. Environmental racism is understood as yet another type of discrimination which results in a high incidence of environmental concerns in poorer communities due to what many activists see as discriminatory land use practices, decisions by industry that intentionally locate hazardous wastes in these communities, and the uneven enforcement of environmental regulations by federal, state, and local officials. Community leaders have added environmental causes to their fight against unemployment, impoverishment, and substandard housing. This study explores various attempts to put a halt to illegal practices and to broaden public awareness of the issues involved.
This collection contains nine most important works written and performed between 1973 and 1989. Three of the plays won first positions in national drama competitions (The Cell, the Family Question, and the Headmaster and the Rascals). Subsequently, the Family Question was performed in Detroit and published in Chicago by Bedford publishers. the Cell has been reviewed in various journals and books, Father Kalo commissioned by the Ministry of Health and John Hopkins School of Medicine was a campaign play against the spread of HIV and AIDS. Themes that preoccupy the author include alienation for returnees from the diaspora in Europe and the USA, power and its corrupting influences, ethnicity and with its offshoots of overdependence and nepotism, and intricate relationship encompassing HIV/AIDS, love and marriage. They are multilayered plays variously classified as tragic comedies, allegories, satires, characterised by high sense of humour.
Should neighborhoods change? Is wearing a suit a good way to quit smoking? Why do people think that if you do one thing, you're against something else? Is monogamy a trick? Why isn't making the city more fun for you and your friends a super-noble political goal? Why does a computer last only three years? How often should you see your parents? How should we behave at parties? Is marriage getting easier? What can spam tell us about the world? Misha Glouberman's friend and collaborator, Sheila Heti, wanted her next book to be a compilation of everything Misha knew. Together, they made a list of subjects. As Misha talked, Sheila typed. He talked about games, relationships, cities, negotiation, improvisation, Casablanca, conferences, and making friends. His subjects ranged from the sublime to the ridiculous. But sometimes what had seemed trivial began to seem important—and what had seemed important began to seem less so. The Chairs Are Where the People Go is refreshing, appealing, and kind of profound. It's a self-help book for people who don't feel they need help, and a how-to book that urges you to do things you don't really need to do.
These volumes feature works from across Lai’s career, providing an exceptional selection of a diverse range of performances. Volume One contains: Secret Love in Peach Blossom Land Look Who's Crosstalking Tonight The Island and the Other Shore I Me She Him Ménage à 13
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