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Ravenhill Plays: 3: Shoot/Get Treasure/Repeat; Over There; A Life in Three Acts; Ten Plagues; Ghost Story; The Experiment, Mark Ravenhill


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Автор: Mark Ravenhill   (Марк Равенхилл)
Название:  Ravenhill Plays: 3: Shoot/Get Treasure/Repeat; Over There; A Life in Three Acts; Ten Plagues; Ghost Story; The Experiment
Перевод названия: Марк Равенхилл: Рейвенхилл играет
ISBN: 9781472510341
Издательство: Bloomsbury Academic
Классификация:
ISBN-10: 1472510348
Обложка/Формат: Paperback
Страницы: 456
Вес: 0.37 кг.
Дата издания: 12.09.2013
Серия: Contemporary dramatists
Язык: English
Размер: 201 x 133 x 29
Читательская аудитория: General (us: trade)
Ключевые слова: Theatre studies, DRAMA / General
Основная тема: Theatre studies,DRAMA / General
Подзаголовок: Shoot/get treasure/repeat; over there; a life in three acts; ten plagues; ghost story; the experiment
Рейтинг:
Поставляется из: Англии
Описание: Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation Time Out

Shoot/Get Treasure/Repeat: A dramatic cycle that is, in its way, epic, but is splintered into many small shards... touches deftly on the impact of war on everyone involved Financial Times

Over There: Ravenhill explores postwar Germanys division and unification through the power battles between twin brothers. The result is fantastically clever and ingenious Guardian

A Life in Three Acts: By turns charming, funny, informative and, in its final segment, lump-in-the-throat moving as Bourne charts the loss of friends and lovers to Aids, and contemplates old age Guardian

Ten Plagues: A remarkable song-cycle... its the portrait of grief beyond measure thats so affecting and which this moving hour of solitudinous lamentation, confusion and defiance brings beautifully to the fore. Telegraph

Ghost Story: both a satire and a moving story about illness Guardian

The Experiment: Mark Ravenhill keeps things creepy in his monologue, The Experiment, in which he plays the satiny-voiced, slippery narrator... The story, and the narrators level of complicity, keeps shifting. Ravenhill asks us to consider which version, if any, might be acceptable, and how much we might be willing to avert our eyes from for the greater good. Independent



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