100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and…mehr
100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: "On lice," "On sleeping in the theater," "On motherhood and stools (the furniture kind)," "Greek masks and Bell's palsy."Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Sarah Ruhl's plays include In the Next Room, or the vibrator play (Pulitzer Prize finalist, Tony Award nominee); The Clean House (Pulitzer Prize finalist, Susan Smith Blackburn Prize); Passion Play, a cycle (PEN American Award); Dead Man's Cell Phone (Helen Hayes Award); and Stage Kiss and Dear Elizabeth. She has been the recipient of a MacArthur Fellowship, the Helen Merrill Emerging Playwrights Award, the Whiting Writers' Award, the PEN Center Award for a midcareer playwright, the Feminist Press's Forty Under Forty Award, and the 2010 Lilly Award. She is currently on the faculty at Yale School of Drama and lives in Brooklyn, New York, with her family.
Inhaltsangabe
Part One: On Writing Plays 1. On interruptions 2. Umbrellas on stage 3. On the loss of sword fights 4. On titles--comedy and tragedy 5. On titles with participles 6. On titles and paintings 7. On Andy Goldsworthy, theatrical structure, and the male orgasm 8. Don't send your characters to reform school 9. Should characters have last names? 10. People in plays 11. An essay in praise of smallness 12. Play of ideas 13. The drama of the sentence 14. Investing in the character 15. The future, storytelling, and secrets 16. On Ovid 17. Miller and Williams; or, morality and mystery plays 18. Calvino and lightness 19. Satyr plays inside tragedies 20. On knowing 21. The necessary 22. Can one stage privacy? 23. On neologisms 24. Bad poets make good playwrights? 25. The place of rhyme in theater and is it banished forever? Part Two: On Acting in Plays 26. On nakedness and sight lines 27. The four humors: an essay in four parts 28. Greek masks and Bell's palsy 29. Greek masks and star casting 30. Subtext to the left of the work, not underneath the work 31. On Maria Irene Fornes 32. What do you want what do you want what do you want 33. Non-adverbial acting 34. Being in a pure state vs. playing an action 35. Speech acts and the imagination 36. Everyone is famous in a parade 37. Conflict is drama? 38. The language of clear steps 39. The death of the ensemble 40. The decline of big families and the decline of cast sizes 41. Color-blind casting; or, why are there so many white people on stage? 42. Eurydice in Germany 43. Eating what we see 44. Dogs and children on stage 45. On fire alarms Part Three: On People Who Watch Plays: Audiences and Experts 46. On sleeping in the theater 47. Wabi-sabi 48. Is one person an audience? 49. Chimpanzees and audiences 50. On pleasure 51. Reading aloud 52. Buber and the stage 53. God as an audience: a non-syllogism 54. Do playwrights love the audience and should they? 55. Hungry ghosts, gardens, and doing plays in New York 56. Advice to dead playwrights from contemporary experts 57. What of aesthetic hatred, and is it useful? 58. More failure and more bad plays 59. It's beautiful, but I don't like it 60. Is there an objective standard of taste? 61. Why I hate the word whimsy. And why I hate the word quirky. 62. A scholarly treatise on the parents of writers 63. William Hazlitt in an age of digital reproduction 64. The strange case of Cats 65. Can you be avant-garde if you're dead?; or, the strange case of e.e. cummings and Thornton Wilder 66. The American play as audition for other genres 67. O'Neill and Picasso 68. Confessions of a twelve-year-old has-been 69. Is there an ethics of comedy, and is it bad when comedies make people laugh? 70. On writing plays for audiences who do not speak 71. The age of commentary 72. Writing and waiting 73. Theater as a preparation for death 74. Watching my mother die on stage Part Four: On Making Plays with Other People: Designers, Dramaturgs, Directors, and Children 75. On lice 76. Mothers on stage 77. On motherhood and stools (the furniture kind) 78. Must one enjoy one's children? 79. The meaning of twins on stage 80. Is playwriting teachable?: the example of Paula Vogel 81. Bad plays and original sin 82. A love note to dramaturgs 83. Children as dramaturgs 84. Democracy and writing a play 85. What about all that office space? 86. Ceilings on stage 87. Storms on stage 88. Snow on stage 89. Gobos, crickets, and false exits: three hobgoblins of false mimesis 90. Oh the proscenium and oh the curtain 91. Exits and entrances and oh the door 92. Theatrical as a dirty word for architects 93. Archaeology and erasers 94. On standard dramatic formatting 95. On the summer Olympics and moving at the same time 96. The first day of rehearsal 97. On watching Three Sisters in the dark 98. The audience is not a camera; or, how to protect your audience from death 99. On endings 100. On community theater
Part One: On Writing Plays 1. On interruptions 2. Umbrellas on stage 3. On the loss of sword fights 4. On titles--comedy and tragedy 5. On titles with participles 6. On titles and paintings 7. On Andy Goldsworthy, theatrical structure, and the male orgasm 8. Don't send your characters to reform school 9. Should characters have last names? 10. People in plays 11. An essay in praise of smallness 12. Play of ideas 13. The drama of the sentence 14. Investing in the character 15. The future, storytelling, and secrets 16. On Ovid 17. Miller and Williams; or, morality and mystery plays 18. Calvino and lightness 19. Satyr plays inside tragedies 20. On knowing 21. The necessary 22. Can one stage privacy? 23. On neologisms 24. Bad poets make good playwrights? 25. The place of rhyme in theater and is it banished forever? Part Two: On Acting in Plays 26. On nakedness and sight lines 27. The four humors: an essay in four parts 28. Greek masks and Bell's palsy 29. Greek masks and star casting 30. Subtext to the left of the work, not underneath the work 31. On Maria Irene Fornes 32. What do you want what do you want what do you want 33. Non-adverbial acting 34. Being in a pure state vs. playing an action 35. Speech acts and the imagination 36. Everyone is famous in a parade 37. Conflict is drama? 38. The language of clear steps 39. The death of the ensemble 40. The decline of big families and the decline of cast sizes 41. Color-blind casting; or, why are there so many white people on stage? 42. Eurydice in Germany 43. Eating what we see 44. Dogs and children on stage 45. On fire alarms Part Three: On People Who Watch Plays: Audiences and Experts 46. On sleeping in the theater 47. Wabi-sabi 48. Is one person an audience? 49. Chimpanzees and audiences 50. On pleasure 51. Reading aloud 52. Buber and the stage 53. God as an audience: a non-syllogism 54. Do playwrights love the audience and should they? 55. Hungry ghosts, gardens, and doing plays in New York 56. Advice to dead playwrights from contemporary experts 57. What of aesthetic hatred, and is it useful? 58. More failure and more bad plays 59. It's beautiful, but I don't like it 60. Is there an objective standard of taste? 61. Why I hate the word whimsy. And why I hate the word quirky. 62. A scholarly treatise on the parents of writers 63. William Hazlitt in an age of digital reproduction 64. The strange case of Cats 65. Can you be avant-garde if you're dead?; or, the strange case of e.e. cummings and Thornton Wilder 66. The American play as audition for other genres 67. O'Neill and Picasso 68. Confessions of a twelve-year-old has-been 69. Is there an ethics of comedy, and is it bad when comedies make people laugh? 70. On writing plays for audiences who do not speak 71. The age of commentary 72. Writing and waiting 73. Theater as a preparation for death 74. Watching my mother die on stage Part Four: On Making Plays with Other People: Designers, Dramaturgs, Directors, and Children 75. On lice 76. Mothers on stage 77. On motherhood and stools (the furniture kind) 78. Must one enjoy one's children? 79. The meaning of twins on stage 80. Is playwriting teachable?: the example of Paula Vogel 81. Bad plays and original sin 82. A love note to dramaturgs 83. Children as dramaturgs 84. Democracy and writing a play 85. What about all that office space? 86. Ceilings on stage 87. Storms on stage 88. Snow on stage 89. Gobos, crickets, and false exits: three hobgoblins of false mimesis 90. Oh the proscenium and oh the curtain 91. Exits and entrances and oh the door 92. Theatrical as a dirty word for architects 93. Archaeology and erasers 94. On standard dramatic formatting 95. On the summer Olympics and moving at the same time 96. The first day of rehearsal 97. On watching Three Sisters in the dark 98. The audience is not a camera; or, how to protect your audience from death 99. On endings 100. On community theater
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