By Sarah Ruhl
“Satire is her oxygen. . . . In her new oddball comedy, Dead Man’s telephone Phone, Sarah Ruhl is perpetually very important in her lyrical and biting takes on how we behave.”—The Washington Post
“Ruhl’s zany probe of the razor-thin line among lifestyles and dying gives you a clean and funny examine the days we are living in.”—Variety
“Sarah Ruhl is deliriously inventive and fearless in her number of material. She is an original.”—Molly Smith, inventive director, enviornment Stage
An frequently ringing cellphone in a quiet café. A stranger on the subsequent desk who has had sufficient. And a lifeless man—with loads of unfastened ends. So starts Dead Man’s cellphone Phone, a wildly innovative new comedy by way of playwright Sarah Ruhl, recipient of a MacArthur “Genius” supply and Pulitzer Prize finalist for her play The fresh House. a piece approximately how we memorialize the dead—and how that remembering adjustments us—it is the odyssey of a lady pressured to confront her personal assumptions approximately morality, redemption, and the necessity to attach in a technologically obsessed world.
Sarah Ruhl’s performs were produced at theaters round the nation, together with Lincoln heart Theater, the Goodman Theatre, area degree, South Coast Repertory, Yale Repertory Theatre, Berkeley Repertory Theatre, between others, and across the world. She is the recipient of the Susan Smith Blackburn Prize (for The fresh House, 2004), the Helen Merrill rising Playwrights Award, and the Whiting Writers’ Award. The fresh House used to be a Pulitzer Prize finalist in 2005. She is a member of 13P and New Dramatists.
Read or Download Dead Man's Cell Phone PDF
Similar theatre books
Arthur Miller's penultimate play, Resurrection Blues, is a darkly comedian satirical allegory that poses the query: What could occur if Christ have been to seem on this planet at the present time? In an unidentified Latin American state, basic Felix Barriaux has captured an elusive progressive chief. The insurgent, identified via numerous names, is rumored to have played miracles during the geographical region.
En imposant Hernani, chef-d'oeuvre du drame romantique, à los angeles Comédie-Française, temple du classicisme, Victor Hugo fut à l'origine de l'une des plus célèbres batailles de l'histoire littéraire. "Tissu d'extravagances", fruit d'un "esprit humain affranchi de toute règle et de toute bienséance" selon l. a. censure.
The Theater of Truth: The Ideology of (Neo)Baroque Aesthetics
The Theater of fact argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics need to be understood as a part of an identical advanced. The Neobaroque, instead of being a go back to the stylistic practices of a selected time and position, might be defined because the continuation of a cultural technique produced as a reaction to a particular challenge of notion that has beset Europe and the colonial international given that early modernity.
Chaos as Usual: Conversations About Rainer Werner Fassbinder
(Applause Books). Rainer Werner Fassbiner left in the back of a literary and cinematic legacy which holds a distinct position within the heritage of ecu movie and within the tradition of the 20 th century. It advanced because the expression of an period, among 1966 and 1982, in a rustic which was once then one other Germany and which now not exists.
- Stephen Sondheim: A Life
- Performing Childhood in the Early Modern Theatre: The Children's Playing Companies (1599-1613) (Early Modern Literature in History)
- The Madness of George III
- The Royal Dutch Theatre at the Hague 1804–1876
- Ich gab mein Herz für Afrika: Das mutige Leben der Joan Root (German Edition)
- Plays: One (The Birthday Party, The Dumb Waiter, The Room, A Slight Ache, A Night Out, The Black and White, The Examination)
Extra info for Dead Man's Cell Phone
Sample text
B ut I'm thi nking of my d aughter . (She stands-for a bell has buzzed-and goes to a curious piece offurniture at the left, a kind of switchboard with a view-finder and earphone. While talking, she looks into the view-finder, after pushing down a switch) : ,Every time I ask you a slightly intimate questi o n , you shut up li ke a clam, IRMA and you throw your d aughter up t o me. Are you still set on going to see her? Don't be' a fool. Between this place and the nursery in the country there's fire and water, rebellion and bullets.
Very gently) Do you think I'm capable of it? IRMA (in a panting whisper) : Yes, darling. THE CHIEF OF POLICE : All right, add up the accounts for me you like, you can deduct Apollo's crepe de Chine. And hurry up. I've got to get back to my post. For the time . If being, I have to act. Mterwards . . Afterwards, things'll in my place. Well, what about Arthur? IRMA (s ubmissively) : He'll be dead this evening. THE CHIEF OF POLICE : Dead? You mean . . really . . really run themselves. My name wil act dead?
F o r the moment, you've abs o l u te l y got to go to meet G eo rge . . ARTHUR (with insolent irony) : I b e g your pardon, my beloved? IRMA (curtly) : To go to meet Mr. G e o rge . To P o li ce H e ad qua rter s , if nece s s a ry , and to let him know that I ' m relying o nly on IRMA him. (slightly uneasy) : You're kidding, I h ope? . IRMA (with sudden sternness) : The tone of my last remark should a n sw e r your question. I'm no longer playing. Or, if you like, not the same r ole . And there's no l on ger any need for you to play the mean, soft·hearted pimp.