Time Stands Still Tcg Edition

New from the Pulitzer Prize-winning author of Dinner with Friends.

"Margulies is literate and intellectually stimulating. His ideas and language hold our attention and earn our respect."—New York "Donald Margulies has an unerring sense of language and the ability to penetrate deeply into the darkness of tangled human emotions."—Variety Gathering in their Berkshire home, a family of actors wrestles with fame, art, and (as always) each other. Brought back together for a melancholy purpose, the solemnity is quickly undercut by restless egos and inflamed temperaments. When the events of the weekend go off-script, secrets are spilled and bonds are broken. Inspired by—and often directly referencing –Chekhov's pastoral comedies, this witty and compelling new comedy unfolds in a fragile old home brimming with memories, new love, and discarded dreams. A funny and poignant comedy about a family of actors, from Pulitzer Prize-winning playwright Donald Margulies. Donald Margulies has won a Lucille Lortel Award, an American Theatre Critics Award, two Los Angeles Drama Critics Awards, two Obie Awards, two Dramatists Guild Hull-Warriner Awards, one Tony Award nomination, six Drama Desk Award nominations, two Pulitzer Prize nominations, and one Pulitzer Prize. His works have been performed on and off Broadway, and at major theaters across the United States, as well as a host of international cities.

From legends like Eugene O'Neill, Tennessee Williams, and Arthur Miller to successful present-day playwrights like Neil LaBute, Tony Kushner, and David Mamet, some of the most important names in the history of theater are from the past 80 years. Contemporary American theater has produced some of the most memorable, beloved, and important plays in history, including Death of a Salesman, A Streetcar Named Desire, Barefoot in the Park, Our Town, The Crucible, A Raisin in the Sun, and The Odd Couple. Historical Dictionary of Contemporary American Theater presents the plays and personages, movements and institutions, and cultural developments of the American stage from 1930 to 2010, a period of vast and almost continuous change. It covers the ever-changing history of the American theater with emphasis on major movements, persons, plays, and events. This is done through a chronology, an introductory essay, an extensive bibliography, and over 1,500 cross-referenced dictionary entries. This book is an excellent access point for students, researchers, and anyone wanting to know more about the history of American theater.

In over fifteen years, the cultural and artistic response to 9/11 has been wide-ranging in form and function. As the turbulent post-9/11 years have unfolded – years that have been shaped and characterized by the War on Terror, the Patriot Act, the Wars in Afghanistan and Iraq, 7/7, Abu Ghraib and Guantánamo Bay – these texts have been commemorative and heroic, have attempted to work through collective and individual traumas, and have struggled with trying to represent the “terrorist other.” Many of these earlier domestic, heroic and traumatic works have so often been read as limitations in narrative. This collection, however, challenges the language of limitation and provides re-readings of earlier work, but also traces the emergence of a new paradigm for discussing the artistic responses to 9/11 – one that frames these narratives as dialogic, self-conscious and self-reflexive interventions in the responses to the attacks, the initial representations of the attacks, and the ever-shifting social and geopolitical continuities of the 9/11 decade. These texts widen the conversation about the lasting impacts of 9/11, and incorporate strands of discussion on American exceptionalism and imperialism, torture, and otherness, whilst still remaining invested in the personal and collective traumas of the attacks. The authors included here ask crucial questions about the way 9/11 is being historicized: will it, for example, be read as a moment of rupture or epoch? Will it inevitably be attached to the War on Terror or the Wars in Iraq and Afghanistan? As they trace the emergent patterns of reflexivity, politicization and dissent, the contributions here are also implicitly invested in asking how far they extend.

DUO! THE BEST SCENES FOR MATURE ACTORS

“Revelatory…As intimate and immediate as a whispered secret. Vogel’s play thrums with music, desire, and fear, and it’s shrewd about the ways in which America isn’t free, and about how art does and doesn’t transcend the perilous winds of history.” —New Yorker “Superbly realized…Indecent, the powerful play by Paula Vogel, sheds an eye-opening light on a little-known time when theatrical history, Jewish culture, and the frank depiction of homosexuality intersected, with explosive results.” —New York Times “Gorgeous. Illuminating and heartbreaking. Rich in sympathy and humor, Indecent has the scope of an epic but the intimacy of a chamber piece…It celebrates and illustrates the power of theater.” —Time Out New York “A moving and fascinating play…A singular achievement… The historical perspective is vast and knowing…Has there ever been anything quite like Indecent, a play that touches—I mean deeply touches—so much rich emotion about history and the theater, anti-Semitism, homophobia, censorship, world wars, red-baiting, and oh, yes, joyful human passion?...An extraordinary play.” —Newsday “Indecent is more than a play about forbidden love: It’s about theater as a life force.” —New York Post When Sholem Asch wrote God of Vengeance in 1907, he didn’t imagine the height of controversy the play would eventually reach. Performing at first in Yiddish and German, the play’s subject matter wasn’t deemed contentious until it was produced in English, when the American audiences were scandalized by the onstage depiction of an amorous affair between two women. Paula Vogel’s newest work traces the trajectory of the show’s success through its tour in Europe to its abrupt and explosive demise on Broadway in 1923—including the arrest of the entire production’s cast and crew. Paula Vogel is the Pulitzer Prize–winning author of How I Learned to Drive. Her other plays include Don Juan Comes Home from Iraq, A Civil War Christmas, The Long Christmas Ride Home, and The Baltimore Waltz, among others. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and then at the Yale School of Drama.

Newly published as a stand-alone edition, Vogel’s widely celebrated masterpiece How I Learned to Drive was the winner of the 1998 Pulitzer Prize for Drama, the Obie and Drama Desk Awards for Outstanding Play, and other honors. Known for its dark subject matter, the play examines the effects of child abuse on identity and the discovery of strength through trauma.

"Naomi Wallace commits the unpardonable sin of being partisan, and, the darkness and harshness of her work notwithstanding, outrageously optimistic. She seems to believe that the world can change. She certainly writes as if she intends to set it on fire."—Tony Kushner "Wallace is that unfashionable thing - a deeply political US playwright who unashamedly writes about ideas rather than feelings."—The Guardian Lauded for her topical, searing explorations of the intricate and pressing issues that affect humanity, Naomi Wallace's new work Night is a Room centers around the timeless subject of love and relationships, specifically in their tenuousness. This story of a seemingly ideal married couple is torn apart when the husband's previously unknown birth mother makes a surprise visit for his fortieth birthday. In Night is a Room, Wallace examines the heart of human connections, and the intimate challenges love can create, romantic or otherwise. Naomi Wallace's plays—which have been produced in the United Kingdom, Europe, the United States, and the Middle East—include In the Heart of America, Slaughter City, One Flea Spare, The Trestle at Pope Lick Creek, Things of Dry Hours, The Fever Chart: Three Short Visions of the Middle East, And I and Silence, The Hard Weather Boating Party, and The Liquid Plain. She has been awarded the Susan Smith Blackburn Prize twice, the Joseph Kesselring Prize, the Fellowship of Southern Writers Drama Award, an Obie Award, and the 2012 Horton Foote Award for most promising new American play.