Plays For The Public

“There’s an irresistible joy to reading these plays…examining them at leisure without the urgent propulsive forward movement of the theater, reveals beauties and resonances uniquely literary.” —Oskar Eustis, Artistic Director, The Public Theater, from his foreword Plays for The Public includes: The Gods Are Pounding My Head! (AKA Lumberjack Messiah) “Richard Foreman is the ultimate theater auteur and mind-roiling warlock of avant-garde drama… Gods is an extravaganza of tightly orchestrated hallucinogenic visual effects, bruising slapstick and intense, cryptic lines… It is majestically mad and funny.” —New York Times Idiot Savant “Vintage Foreman: ravishing, perplexing, scary, a sensual and intellectual message for those weary of causality and psychology.” —Time Out New York Old-Fashioned Prostitutes “What makes Mr. Foreman’s work so entertaining is his ability to turn these classic, head-scratching concerns into phantasmagorical vaudevilles in which all the world’s a stage that keeps changing shape on you… Mr. Foreman is a grandmaster.” —New York Times This volume features the two plays sumptuously produced at The Public Theater in New York City that mark the culmination of Richard Foreman’s unstintingly inventive, astonishing career in theater, just as he was beginning to devote his creative energies entirely to filmmaking.

In Brian Friel's writing, the distinction between public and private is closely linked to the concepts of home, family, identity and truth. This study examines the characters' excessive introspection and their deep-seated need to disclose their most intimate knowledge and private truths to define who they are and, thus, to oppose dominant discourse or avoid heteronomy. This study begins by investigating how a number of Anglo-Irish writers publicised their characters' private versions of truth thereby illustrating what they perceived to be the space of 'Irishness'. The book then focuses on Friel's techniques of sharing his character's private views to demonstrate how he adopted and adapted these practices in his own oeuvre. As the characters' superficial inarticulateness and their vivid inner selves are repeatedly juxtaposed in Friel's texts, his oeuvre, quintessentially, displays a great unease with the concepts of communication and absolute truth.

This book provides an empirical analysis of the concept of play as a form of spatial practice in urban public spaces. The introduced City–Play–Framework (CPF) is a practical urban analysis tool that allows urban designers, landscape architects and researchers to develop a shared awareness when opening up this window of possibility for adventure. Two case studies substantiate and illustrate the development process and testing of the framework in Canberra, Australia, and Potsdam, Germany. The appropriation of public spaces that transcend boundaries can facilitate an intrinsic connection between people and their immediate environment, towards a more joyful ontological state of human existence in which imagination, co-creation and a sense of agency are key elements of the design approach. The framework presents an alternative understanding of public spaces and public life, reflecting on theory and its implications for practice in a post-pandemic world in dense urban centres. A bridge between theory and practice, this book explores possibilities on what future design ought to be when openness and ambiguity are consciously integrated parts of practice and process. The book presents a valuable discussion on public space and play for academic audiences across a wide range of disciplines such as landscape architecture, urban design, planning, architecture and urban sociology, which is informative for future practice.

Federico Garcia Lorca called The Public "the best thing I've written for the theater." Yet, he acknowledged, "this is for the theater years from now." Now, half a century later, The Public and another of Lorca's most daring works, Play without a Title, are available in English translation for the first time. Surrealism, folk theater, poetry, vivid costumes, black humor--in the The Public, dramatic traditions are ransacked to develop themes as timely in the 1980s as they were taboo when Lorca was writing: if Romeo were a man of thirty and Juliet a boy of fifteen, would their passion be any less authentic? No, says a young observer of the play within the play, "I who climb the mountain twice each day and, when I finish studying, tend an enormous herd of bulls that I've got to struggle with and overpower at every instant, I don't have time to think about whether Juliet's a man or a woman or a child, but only to observe that I like her with such a joyous desire." In both The Public and Play without a Title, the player himself is of as much consequence as the role he plays. The fierce, stark Play without a Title, with its cast of Author, Prompter, Stagehand in the wings, and hecklers in the gallery, clearly heralds developments in today's avant-garde theater. It also reflects the violence of the times in which it was written. As Carlos Bauer notes in his introduction, neither of the plays in this volume was complete in 1936, when Lorca was assassinated by Franco's forces. Still, both have here the unity and grace of finished tours de force.

Are children playing less than they used to? Are rising obesity rates linked to a decline in children’s time to play freely? These and other related questions have filled the pages of newspapers, magazines and scholarly journals for the past decade. Researchers and journalists have attributed these issues to societal changes around children’s lives and leisure, the growth of structured and organised activities and increasing perceptions of risk in children’s play. Play, Physical Activity and Public Health presents a discussion of the way modern notions of play are rendering children’s leisure activities less free and less engaged in simply for fun. Based on original qualitative research, and analysis of contemporary media from Canada and elsewhere, this book argues that the growing health concerns around childhood play entail a paradox: by advocating, promoting, discussing, and re-directing children’s play, a new form of children’s leisure is emerging - one that is purpose-driven, instrumentalised for health, and ultimately, less free. We explore how play has become goal-oriented, a means to health ends, and how the management of pleasure in play as well as diverse risk discourses around play continue to limit and constrain possibilities for children and families to play and engage in leisure freely. Incorporating past critiques of this trend in play, we argue for research and practice to create new possibilities and ways of thinking about children's play, leisure, fun and childhood, that are less constrained and managed, and importantly less geared towards health goals. This is a valuable resource for students of the sociology of sport, kinesiology, sports and health psychology, education, public health, and childhood studies. It is also an important read for school teachers, public health practitioners, psychologists, physical education teachers, academics and parents interested in how children’s leisure lives are being shaped by the growing and diverse discussions around play.

The role of play in human and animal development is well established, and its educational and therapeutic value is widely supported in the literature. This innovative book extends the play debate by assembling and examining the many pieces of the play puzzle from the perspective of public health. It tackles the dual aspects of art and science which inform both play theory and public health policy, and advocates for a ‘playful’ pursuit of public health, through the integration of evidence from parallel scientific and creative endeavors. Drawing on international research evidence, the book addresses some of the major public health concerns of the 21st century – obesity, inactivity, loneliness and mental health – advocating for creative solutions to social disparities in health and wellbeing. From attachment at the start of life to detachment at life’s ending, in the home and in the workplace, and across virtual and physical environments, play is presented as vital to the creation of a new ‘culture of health’. This book represents a valuable resource for students, academics, practitioners and policy-makers across a range of fields of interest including play, health, the creative arts and digital and environmental design.

A city's infrastructure influences the daily life of residents, neighborhoods, and businesses. But uniting the hard infrastructure of roads and bridges with the soft infrastructure of parks and public art creates significant political challenges. Planners at all stages must work at an intersection of public policy, markets, and aesthetics--while also accounting for how a project will work in both the present and the future. The latest volume in the Urban Agenda series looks at pressing infrastructure issues discussed at the 2017 UIC Urban Forum. Topics include: competing notions of the infrastructure ideal; what previous large infrastructure programs can teach the Trump Administration; how infrastructure influences city design; the architecture of the cities of tomorrow; who benefits from infrastructure improvements; and evaluations of projects like the Chicago Riverwalk and grassroots efforts to reclaim neighborhood parks from gangs. Contributors: Philip Ashton, Beverly S. Bunch, Bill Burton, Charles Hoch, Sean Lally, and Sanjeev Vidyarthi

Afong Moy is fourteen years old when she’s brought to the United States from Guangzhou Province in 1834. Allegedly the first Chinese woman to set foot on U.S. soil, she has been put on display for the American public as “The Chinese Lady.” For the next half-century, she performs for curious white people, showing them how she eats, what she wears, and the highlight of the event: how she walks with bound feet. As the decades wear on, her celebrated sideshow comes to define and challenge her very sense of identity. Inspired by the true story of Afong Moy’s life, THE CHINESE LADY is a dark, poetic, yet whimsical portrait of America through the eyes of a young Chinese woman.