All in the Timing: Fourteen Plays - download pdf or read online

By David Ives

ISBN-10: 0307772616

ISBN-13: 9780307772619

The realm based on David Ives is a really upload position, and his performs represent a digital pressure try of the English language -- and of the audience's capability for disorientation and pleasure. Ives's characters plunge into black holes known as "Philadelphias," the place the best wants are hilariously thwarted. Chimps named Milton, rapid, and Kafka are locked in a room and made to re-create Hamlet. And a con guy peddles classes in a doubtful language during which "hello" interprets as "velcro" and "fraud" comes out as "freud."

At as soon as enthralling and puzzling, incisively clever and side-splittingly humorous, this unique paperback version of Ives's performs contains "Sure Thing," "Words, phrases, Words," "The common Language," "Variations at the demise of Trotsky," "The Philadelphia," "Long in the past and much Away," "Foreplay, or The paintings of the Fugue," "Seven Menus," "Mere Mortals," "English Made Simple," "A Singular Kinda Guy," "Speed-the-Play," "Ancient History," and "Philip Glass Buys a Loaf of Bread."

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Additional resources for All in the Timing: Fourteen Plays

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It’s rare that contemporary critics put the question of representation of gender together with the fact of who played the female parts: discussion of the former tends to remain at the level of the plot, often referring to the “subjectivity” of, say, Viola or Rosalind,29 and at most nodding to the adolescent boys who inhabited the roles. ”—is obviously not an uninvited come-on, but an implied stage direction, a response to an action: Phebe has been looking on Rosalind/Ganymede, gawking, even leering.

Yet, just as Shakespeare can no longer be regarded as the pan-historical, universal, value-free Bard, Cheek by Jowl’s production can hardly be read outside its own contemporary conditions. The production operates both within and against literary and performance traditions in England and in America, and it functions very much within the economy of mainstream institutional theater throughout the Western world. ” But I do think it’s disingenuous—if not impossible—to suppose that its critique of gender, theater-viewing, and SHAKESPEARE’S CROSSED-DRESSED BOY-ACTRESSES 41 sexuality can be read as though the performance exists outside material relations involving gender, theater, and what we’ve come to call homosexuality.

Tensions between social disruption and social integration are dialectical, all the more so SHAKESPEARE’S CROSSED-DRESSED BOY-ACTRESSES 35 when represented on stage. Regardless of the heterosexual comic closure at the ends of such plays, denouements aren’t delivered up—or received—as incontrovertible summations; what counts is the experience of a play over time, and that experience may by turns challenge, reinforce, contradict, or throw into confusion the tidy untanglings that restore wife or daughter to husband or father’s charge.

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All in the Timing: Fourteen Plays by David Ives

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