By David Ives
The realm in keeping with David Ives is a truly upload position, and his performs represent a digital tension attempt of the English language -- and of the audience's capability for disorientation and enjoyment. Ives's characters plunge into black holes known as "Philadelphias," the place the best wants are hilariously thwarted. Chimps named Milton, speedy, and Kafka are locked in a room and made to re-create Hamlet. And a con guy peddles classes in a doubtful language within which "hello" interprets as "velcro" and "fraud" comes out as "freud."
At as soon as enthralling and confusing, incisively clever and side-splittingly humorous, this unique paperback version of Ives's performs contains "Sure Thing," "Words, phrases, Words," "The common Language," "Variations at the dying of Trotsky," "The Philadelphia," "Long in the past and much Away," "Foreplay, or The paintings of the Fugue," "Seven Menus," "Mere Mortals," "English Made Simple," "A Singular Kinda Guy," "Speed-the-Play," "Ancient History," and "Philip Glass Buys a Loaf of Bread."
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Extra resources for All in the Timing: Fourteen Plays
Karl Ragnar Gierow, "Ett teaterprogram," Svenska Dagbladet, 15 September 1958Clara Blackburn, "Continental Influences on Eugene O'Neill's Expressionistic Drama," American Literature, 13 (May 1941): 119-21. Frenz, American Playwrights, p. 3. Blackburn, "Continental Influences," pp. I I 5-1 6. Falk, Eugene O'Neill, p. 153. Gelbs, O'Neill, p. 234. Sheaffer, O'Neill: Son and Playwright, p. 254. , p. 317. Gelbs, O'Neill, p. 233. , p. 73 I. Clark, Eugene O'Neill, p. 163. Chothia, Forging a Language, p.
Lawrence Langner, The Magic Curtain (New York: Dutton, 1951), p. 288. Doris Alexander, The Tempering of Eugene O'Neill (New York: Harcourt, Brace, and World, 1961), p. 128. Nordisk Tidende [Brooklyn, NY], 2 June 1938, quoted from Halfmann, Eugene O'Neill p. I 3 5. The observation is Chothia's in Forging a Language, p. 50. Gelbs, O'Neill, p. 277. Agnes Boulton, Part of a Long Story (Garden City, NY: Doubleday, 1958), p. 76. Halfmann, Eugene O'Neill, p. 13 5. George Bernard Shaw, The Quintessence of lbsenism (1891), quoted from his Major Critical Essays (London: Constable, 19 5S), p.
The drooping black mustache O'Neill grew in his late twenties, the solitude in which he spent his last years, the tremendous strain he put on his creative spirit, the somber satisfaction he took in being misunderstood, and the final collapse - all are a mirroring of N i e t ~ s c h e . ~ ~ However, rather than identification or mirroring we may speak of a fundamental spiritual affinity leading to similar manifestations, an affinity which explains the scope and depth of Nietzsche's impact on O'Neill's writings.