Name: Three Somebodies: Plays About Notorious Dissidents: Scum | Jack the Rapper | art was Here (en Inglés)
Price: 58306.00 COP
Availability: InStock
Author: Kat Georges
ISBN: 9781941110546

portada Three Somebodies: Plays About Notorious Dissidents: Scum | Jack the Rapper | art was Here (en Inglés)

Three Somebodies: Plays About Notorious Dissidents: Scum | Jack the Rapper | art was Here (en Inglés)

Formato

Libro Físico

Editorial

Three Rooms Press

Autor

Kat Georges

Año

2018

Idioma

Inglés

N° páginas

192

Encuadernación

Tapa Blanda

ISBN13

9781941110546

Categorías

Biografía: general
Crímenes y delitos reales

Three Somebodies: Plays About Notorious Dissidents: Scum | Jack the Rapper | art was Here (en Inglés)

Kat Georges (Autor) · Three Rooms Press · Tapa Blanda

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Reseña del libro "Three Somebodies: Plays About Notorious Dissidents: Scum | Jack the Rapper | art was Here (en Inglés)"

In THREE SOMEBODIES: Plays About Notorious Dissidents, poet-playwright Kat Georges offers a trio of fascinating, cutting edge plays about notorious dissidents--people who shook up the world-- for better or worse, including "SCUM: The Valerie Solanas Story," "Art Was Here," inspired by poet-pugilist and Dada precursor Arthur Cravan, and "Jack the Rapper," a mash-up of Jack the ripper and T. S. Eliot. Shakespeare had his kings and princes. Georges chose royalty of the infamous variety: Valerie Solanas, author of The SCUM Manifesto, who famously shot Andy Warhol. Arthur Cravan--nephew of Oscar Wilde, wild child pugilist and poet--whose legendary antics preceded and influenced the Dada movement. Jack the Ripper as sculpted through the words of Eliot's poem "Rhapsody on a Windy Night." All three plays received their world premieres at San Francisco's notorious Marilyn Monroe Memorial Theater, known for its focus on "demolished texts, deconstructed classics, and new works." As such, the plays are not representative of standard "bio-dramas." Rather these are stripped down, twisted, juxtaposed, hard-bent works of intensity designed to bring each of the subjects to life as three-dimensional portraits, and to examine their particular personas from the inside out. The subjects of these three plays refused to be handcuffed by linear drama so they roar to life in twists and shouts, psychedelic tremors, and whirlwind ebullience. Playwright Georges paints each of these plays with bold, innovative strokes that expand the boundaries of the theatrical milieu. As compelling to read off the page as to perform, these three plays offer sharp dialogue and prismatic views of their rebellious subjects, casting aside stereotypical, bullet-pointed personalities to establish new perspectives on their subjects.