The Funfair: Modern Plays
Autor Simon Stephensen Limba Engleză Paperback – 13 mai 2015
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Specificații
ISBN-13: 9781474265843
ISBN-10: 1474265847
Pagini: 80
Dimensiuni: 129 x 198 x 4 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
ISBN-10: 1474265847
Pagini: 80
Dimensiuni: 129 x 198 x 4 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
Caracteristici
Simon Stephens has become a playwriting phenomenon, both in the UK and the US, and across the world. He has authored over thirty plays and scooped up major awards including the TMA Award for Best New Play (Punk Rock), the Critics' Awards for Theatre in Scotland Best New Play (Pornography), the Olivier Award for Best New Play (The Curious Incident of the Dog in the Night-Time, 2013), and On the Shore of the Wide World, 2005) and the Pearson Award for Best New Play (Port, 2001).
Notă biografică
Simon Stephens is a multi-award-winning playwright whose plays are produced across the world.
Recenzii
Its gaudy despair . . . is true, disturbing and wide-reaching
At every turn, The Funfair subverts your liberal prejudices
Stephens' reworking is local and immediate. It translates the story of romantic disintegration and far-right politics at the 1929 Munich Oktoberfest into a violent, hedonistic night on the lash at a seedy Mancunian fairground today. . . . it seethes with rage at the obscene inequalities of wealth and power in our society and how they drive the dispossessed to turn on one another.
with hints of an expressionist Woyzeck, the melancholy of a Chekhov play and some of the political clout of Edward Bond's Saved. . . . The era is both now and then.
Simon Stephens's angry version of Odon von Horvath's 1932 Kasimir and Karoline. . . . Stephens sees utter modernity in his tale of lovers breaking up as poverty and desperation render the world around them hostile. . . . a piece of dark, glittering fragments. . . . it's gaudy despair . . . is true, disturbing and wide-reaching.
Stephens' script is excellent, peppered with bursting one-liners. And the nightmarish atmosphere of the fair, a metaphor for a society sick at its core, is powerfully evoked. Politically engaged and artistically bold - as reliant on surreal imagery as on dialogue
Simon Stephens's latest work is an unflinching, highly political portrait of life at the bottom of the heap.
At every turn, The Funfair subverts your liberal prejudices
Stephens' reworking is local and immediate. It translates the story of romantic disintegration and far-right politics at the 1929 Munich Oktoberfest into a violent, hedonistic night on the lash at a seedy Mancunian fairground today. . . . it seethes with rage at the obscene inequalities of wealth and power in our society and how they drive the dispossessed to turn on one another.
with hints of an expressionist Woyzeck, the melancholy of a Chekhov play and some of the political clout of Edward Bond's Saved. . . . The era is both now and then.
Simon Stephens's angry version of Odon von Horvath's 1932 Kasimir and Karoline. . . . Stephens sees utter modernity in his tale of lovers breaking up as poverty and desperation render the world around them hostile. . . . a piece of dark, glittering fragments. . . . it's gaudy despair . . . is true, disturbing and wide-reaching.
Stephens' script is excellent, peppered with bursting one-liners. And the nightmarish atmosphere of the fair, a metaphor for a society sick at its core, is powerfully evoked. Politically engaged and artistically bold - as reliant on surreal imagery as on dialogue
Simon Stephens's latest work is an unflinching, highly political portrait of life at the bottom of the heap.