By Ruby Cohn

ISBN-10: 0521035287

ISBN-13: 9780521035286

The idea of a latest cross-cultural trade in the medium of theater is right here imposed on a dozen modern Anglo-American dramatists: Alan Ayckbourn and Neil Simon, Edward Bond and Sam Shepard, David Mamet and Harold Pinter, Caryl Churchill and Maria Irene Forn?s, David Hare and David Rabe, Christopher Hampton and Richard Nelson. In each one pairing, Ruby Cohn unites a British with an American playwright, exploring similarities that function a springboard for the publicity of a extra profound, culturally-based distinction.

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Although we hear music intermittently throughout the play piano, bass, and sax - none of it springs from Niles, who is at first invisible to the detectives. " Perhaps it is Niles's music we hear as the lights finally fade, for there has been an intimation that Niles the composer is doubled by a speechless piano player. Subsuming the blocked creativity of Melodrama Play and Mad Dog Blues, as well as the public pressure of Cowboy Mouth and The Tooth of Crime, Suicide in B-Flat tries to fuse the musical artist into the detective story frame, where the "murdered" artist is again shackled instead of encouraged on his artistic way.

American Dreams, p. 198). "What it means" is dramatized in a tense duel between two musical artists. The reigning rock star Hoss is challenged by an upstart Crow. Hoss is at once a blocked composer and the tool of the media, but the punk rocker Crow is new on Shepard's stage. Hoss and Crow vie for supremacy as musicians, but words are their weapons, both in and outside of song. Their virtuosic duel is 40 Artists' arias: Edward Bond and Sam Shepard staged as a prizefight, with resonances of the gunfight of Western movies.

The first Bond artist is, however, somewhat exotic, and probably unfamiliar to most Western audiences. Narrow Road to the Deep North (1968) was triggered by the translation of a seventeenth-century Japanese poet: "I started to read a book by Basho, the Japanese poet.... The poet, Basho, sees this child abandoned by the river - and he goes on his way. " (Hay & Roberts, Edward Bond: A Companion, p. 15). "I just shut the book and I couldn't read it anymore.... I more or less forgot about it but from time to time it came up in my mind and when I had this play to produce I just went back to the book and I read it, and wrote a play" (Roberts, Bond on File, p.

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Anglo-American Interplay in Recent Drama by Ruby Cohn


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