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Neo-Solo: 131 Neo-Futurist Solo Plays from Too Much Light Makes the Baby Go Blind is the second book of short (very short) plays from Chicago's experimental theater company, The Neo-Futurists. Too Much Light is an on-going attempt to perform 30 plays in 60 minutes. The show is in constant flux, with at least 2 to 12 new plays written by the ensemble each week. Since the show's inception in 1988, the ensemble has generated nearly 4,500 short plays, performance pieces, and monologues, from which this collection is culled. The book contains solo performance pieces by 25 authors, covering such diverse topics as racial politics, sex between strangers, child abuse, and what it means to be a "male secretary". Rants, poems, songs, plays without words, straight-ahead monologues, jokes and audience participatory plays are just a few of the forms used by The Neo-Futurists to present their ideas and stories.
In a club of mean bikers, being gay can get you killed, but love can save any man. Sam &‘Solo' Braun lives by one truth, the Grave Diggers Motorcycle Club, above all. The creed has served him well, giving him the only real family he's ever known. He would die for his brothers and them for him, but they don't know he prefers men over women. Coming out to a group of men who fear no one isn't high on Solo's priority list, especially because he's never indulged in more than one-night stands. Everything changes after one night with Eric James. For the first time, Solo can't stop thinking about a single night he'd spent with a man. When fate intervenes, Solo comes face-to-face with his blue-eyed obsession, only to find out Eric is a cop. Solo hates cops, and so do his brothers in the club. However, Solo decides to gamble everything and spend more time with Eric under the guise of getting information. Falling in love with a cop is a very dangerous proposition for a man in Solo's position, so why can't he walk away?
This collection of 100 short (very short) plays from The Neo-Futurists' acclaimed cult hit Too Much Light Makes the Baby Go Blind was originally published by Chicago Plays in 1993. The show presents 30 plays in 60 minutes, its ensemble of writer/performers generating between two and 12 new plays each week, as dictated by a roll of the dice. The material runs the gamut of style, tone, and topic: musical, confession, agit-prop, poetic gesture, physical comedy, puppet theater, audience interrogation, folk song, sex joke, and many more. The plays are funny, moving, challenging, powerful, and occasionally just plain weird. There is no fourth wall in Too Much Light Makes the Baby Go Blind -- the show embraces the ideal that theater is created in the connection between audience and performer. Randomness, dynamism, speed, brevity, and planned obsolescence are celebrated and exploited to engage and refresh all participants. The plays stand as an entertaining document of the show's output, and they are ideal for scene study, auditions, and competitions.
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Featuring the work of: About Face Youth Theatre • Albany Park Theater Project • Barrel of Monkeys • Every house has a door • FEMelanin • 500 Clown • Free Street Theater • Honey Pot Performance • Lookingglass Theater • The Neo-Futurists • The Second City • Southside Ignoramus Quartet • Teatro Luna • Walkabout Theater • Young Fugitives Ensemble-Made Chicago brings together a wide range of Chicago theater companies to share strategies for cocreating performance. Cocreated theater breaks down the traditional roles of writer, director, and performer in favor of a more egalitarian approach in which all participants contribute to the creation of original material. Each chapter offers a short history of a Chicago company, followed by detailed exercises that have been developed and used by that company to build ensemble and generate performances. Companies included range in age from two to fifty years, represent different Chicago neighborhoods, and reflect both the storefront tradition and established cultural institutions. The book pays special attention to the ways the fight for social justice has shaped the development of this aesthetic in Chicago. Assembled from interviews and firsthand observations, Ensemble-Made Chicago is written in a lively and accessible style and will serve as an invaluable guide for students and practitioners alike, as well as an important archive of Chicago’s vibrant ensemble traditions. Readers will find new creative methods to enrich their own practice and push their work in new directions.
Twenty-one gems showing that the freshest, most startling stories come from the spaces between conventional genres.
Eva has always wanted to experience life in Japan. But upon her arrival there to pursue a master's degree, she soon finds that it's not entirely like what she'd gleaned from reading manga and watching anime. From dirty dorms and Japanese bureaucracy to natural disasters and hay fever-inducing pollen, Eva's stay in Japan was no walk in the cherry blossom park. She was also there during the 3/11 earthquake, among the worst quakes in recent history. In this follow-up to "Eva, Kopi and Matcha," follow Eva's footsteps as she experiences some of the best and not-quite-the-best Japan has to offer during her postgraduate adventure. Her accounts in "Eva Goes Solo" - humorous, sometimes harrowing and informative - show that her fondness for all things Japanese has not waned, despite everything.
This book brings together over 200 short (very short) plays from the New York production of the acclaimed cult theater hit "Too Much Light Makes the Baby Go Blind." "Too Much Light Makes the Baby Go Blind," created by Greg Allen, debuted in Chicago in December, 1988, and has been playing to sold out houses ever since. The show presents 30 plays in 60 minutes, 50 weeks a year, to a devoted following. The ensemble of writer-performers generates between two and 12 new plays each week, as dictated by a roll of the dice, creating a constantly changing menu of plays. In 2004, a New York ensemble was formed and the show has been running there since, playing to houses of younger, culturally adventurous audiences as well as seasoned theater-goers. The 225 plays in this volume, culled from more than 1,300 the New York company has generated since 2004, reflect the diversity of 35 current and past ensemble members and the multiplicity of viewpoints and voices they bring to the stage. The material runs the gamut of style, tone, and topic: musical, confession, agit-prop, poetic gesture, physical comedy, puppet theater, audience interrogation, folk song, sex joke, and many more.
A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.