Word: crimpã
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...diagonally. The audience sits along either side in small bleacher clusters, the noticeably comfortable space between their seats an appreciated—and probably intentional—detail. After all, it could not have been lost on director Matthew C. Stone ’11 that British playwright Martin Crimp??s “Attempts on Her Life” is not a play that makes anyone feel like being close...
Even less of a coherent universe was provided in Crimp??s original script. There is no plot, no intended them, no designated setting or designated speakers—just lines of dialogue with dashes to signal a change of voice, or ellipses to suggest a pause. Without dictated sexes or any guidelines for gathering an “appropriately” composed cast, though, long narrative passages (indicated as belonging to a single speaker in the script) can be manipulated and divided at the director’s discretion, just as all non-lingual elements must be. It?...
It’s a mark of the strength of the team behind Roberto Zucco that they aren’t sunk by its script, which is one of those laughably pretentious philosophical treatises that stink up the Ex with fair regularity. Briton Martin Crimp??s affected translation (from Bernard-Marie Koltès’ French original) gives Roberto Zucco much of its campiness, but the play’s plot is no treat, either. Its title character (John Dewis) is a multiple murderer who enjoys making uninformative speeches about the place and nature...
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