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Emilia de Morgan Lloyd Malcolm

Emilia: Modern Plays

Autor Morgan Lloyd Malcolm
en Limba Engleză Paperback – 6 oct 2021
Winner of the Noel Coward Award for Best Entertainment or Comedy at the 2020 Olivier AwardsIn 1611 Emilia Bassano wrote a volume of radical, feminist and subversive poetry. It was one of the first published collections of poetry written by a woman in England. The little we know of Emilia Bassano is restricted to the possibility that she may have been the 'Dark Lady' of Shakespeare's Sonnets - and the rest of HerStory has been erased by History.Morgan has taken what we know of Bassano, and her poetry, to create this lively, witty play.
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Specificații

ISBN-13: 9781350279247
ISBN-10: 1350279242
Pagini: 160
Dimensiuni: 129 x 198 x 15 mm
Greutate: 0.16 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays

Locul publicării:London, United Kingdom

Caracteristici

By acclaimed playwright and screenwriter Morgan Lloyd Malcolm

Notă biografică

Morgan Lloyd Malcolm's is a playwright and screenwriter. Her play Belongings was produced at the Hampstead Theatre and Trafalgar Studios in 2011 and was shortlisted for The Charles Wintour Most Promising Playwright Award. This was followed in 2015 by another hit play at Hampstead Theatre, The Wasp, which also transferred to Trafalgar Studios. Other stage work includes commissions for The Old Vic, Clean Break and Firehouse Productions. She has co-written several acclaimed immersive site specific plays with Katie Lyons for Look Left Look Right and was part of the writing team for four of the Lyric Hammersmith's pantomimes from 2009-2012 and wrote (solo) the Bolton Octagon's Christmas plays for 2013 and 2014. In 2016 Morgan was selected for the BBC TV Drama Writers Programme.

Cuprins

ChronologyCOMMENTARYCHARACTERS - Historical versus fictional / Emilia Lanier Bassano (1560-1645)NARRATIVEPUBLIC HISTORY - Comparative works as diverse as Upstart Crow, Horrible Histories, Downton Abbey, Hamilton and Six in terms of dramatically subverting traditional historiesFEMINISMAUDIENCE DEMOGRAPHICDRAMATIC DEVICES - the 3 Emilias, Brecht, epic theatre, feminist theatre, Shakespeare's history plays, all-female castSHAKESPEARE'S GLOBE INTERVIEW WITH PLAYWRIGHTPLAY TEXTFURTHER READING

Recenzii

It is incredibly heartening to hear unabashed feminist rhetoric, spoken by a diverse all-female cast, in a commercial theatre space. [Emilia Bassano] provides a clear way in for discussing the centuries-long silencing of women, the oppression they have faced - and still face today. And you're never far from a totally topical line, the mix of past and present underlined by Lloyd Malcolm's use of cheerfully anachronistic slangy contemporary phrases. It can be really fun; this is a gently meta-theatrical and very jolly historical romp of a show, in the mould of 'Nell Gwyn' or 'Shakespeare in Love'. The winkingly modern perspective on the nonsense men spouted and women were expected to put up with is frequently amusing.
If Shakespeare's Globe had a roof, it would have been blasted off by the thunderous ovations and cheers ... greeting [this] extraordinarily rousing ... play ... In many honourable ways, this feels like a therapeutic blast in the #metoo era and it ends with an appropriately spine-tingling call to arms. "If they try to burn you, may your fire be stronger than theirs, so you can burn the whole f***ing house down". In the weight of her anger, [Emilia] convinces you that she holds "a muscle memory of every woman who came before me". ... [This] is a landmark moment in the history of Shakespeare Globe.
History is written by the victor, and as Malcolm's ... piece shows, the victor in the sixteenth century (and indeed, most of the time now) was male, white, privileged and uncompromising. The elder Emilia notes at one point, "We read what is recorded and see what is missing". That's what Emilia, the play, does so brilliantly; it fills in the gaps ... Malcolm writes eloquently, at times beautifully, showing Emilia's suffering and brilliance in equal measure. She also uses the context of the Globe masterfully - shattering the fourth wall with direct address to bring the audience into the story. There are romantic squabbles, fun capers ... the piece has a near-constant humour ... An outright feminist triumph and a brilliant call-to-arms.
A spicy work of biographical conjecture ... It's also a rousing reminder of the countless creative women who have been written out of history or have had to fight relentlessly to make themselves heard.
The great virtue of Lloyd Malcolm's speculative history lies in its passion and anger: it ends with a blazing address to the audience that is virtually a call to arms. It is throughout, however, a highly theatrical piece ... In rescuing Emilia from the shades, [the play] gives her dramatic life and polemical potency.