By Larry Kramer
Larry Kramer has been defined by way of Susan Sontag as "one of America's most beneficial troublemakers." As Frank wealthy writes in his Foreword to this new number of writings for the reveal and degree, "his performs are nearly journalistic of their statement of the fine-grained documentary information of existence ... which can good end up timeless." The name paintings, the Oscar-nominated screenplay for ladies in Love, is a film "as sensuous as something you've most likely ever obvious on film" (The long island Times). The screenplay is observed through Kramer's reflections at the background of the creation, certain to be of curiosity to any pupil of movie. This quantity additionally comprises a number of early performs, Sissies' Scrapbook, A Minor darkish Age, and the political farce simply Say No, illuminating the improvement of 1 of our most vital literary figures. "Since his screenplay for ladies in Love, Kramer has been a prophet of psychic overall healthiness and disaster between us." -- from the yank Academy of Arts and Letters quotation
Read or Download Women in Love and Other Dramatic Writings: Women in Love, Sissies' Scrapbook, A Minor Dark Age, Just Say No, The Farce in Just Saying No PDF
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Additional info for Women in Love and Other Dramatic Writings: Women in Love, Sissies' Scrapbook, A Minor Dark Age, Just Say No, The Farce in Just Saying No
Sample text
10 Print also came to govern the rhetoric of theatrical performance, the sense that performance derives from the order of print. The iterative nature of print changed the understanding of theatre and its relationship to dramatic writing, giving rise to a sense of theatre as a form of printlike reiteration, and so to a distinctive sense of theatrical (in)fidelity, the notion that theatrical performance is a replaying of an artistic identity held elsewhere, within the printed text of the play. And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today.
As a result, throughout the book, I discuss performances in some detail: an “experimental” university production of Romeo and Juliet that attempted to theatricalize unspoken features of the q 2 text of that play; the disarming performance of the “mutes or audience” of Hamlet at the Globe Theatre in 2000; Baz Luhrmann’s William Shakespeare’s Romeo + Juliet, and the Grupo Galp˜ao Romeu e Julieta, staged as part of the “Globe to Globe” series; several contemporary films; and the performance of reading hypertext online.
And yet, while print has changed the landscape of performance for ever, installing plays as fixed printed objects to be reiterated in another medium (performance), the first impact of print in the theatre was on a culture that used writing in a specific process of oral transmission, and printed drama remains embedded in a range of oral practices today. “Scribal culture” (Eisenstein’s term) was heavily reliant on “oral transmission” in ways that make a simple opposition between oral and literate cultures suspect.