Word: genetics
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Dates: during 1960-1969
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...Blacks (translated from the French of Jean Genet by Bernard Frechtman) finds the most trenchant of French avant-gardists once more leading his own fierce assault on his own unyielding terms. Avantgarde, with Genet, is in part millenniums-old ancien regime. His originality rests on the very origins of theater, on ritual and ceremony, magic and masks; his modernity lies in how he reshapes, distorts, sophisticates, extends hem. Of all this The Blacks-a white nan's often extraordinary venture into Negro fantasy and psychology-is strong-y compacted...
...Albee's famed mano a mano between Natural and Ivy League Man, running on a double bill with Samuel Beckett's lucid monologue, Krapp's Last Tape; Hedda Gabler, another excellent production in the Fourth Street Theater's Ibsen series; The Balcony, French Playwright Jean Genet's superb argument that the world is a mammoth cat house...
...double bill with Samuel Beckett's lucid monologue, Krapp's Last Tape; Hedda Gabler, another excellent production in the Fourth Street Theater's Ibsen series; In the Jungle of Cities, a mystifying but thoroughly stimulating early play by Bertolt Brecht; The Balcony, French Playwright Jean Genet's superb argument that the world is a mammoth cat house...
Sean O'Casey's Drums Under the Window is a lilting work that makes golden use of the English language. With this exception, however, the downtown offerings generally range from pretentious to overtly sheckel-minded. An example of a play with static ideas and superficial newness is Genet's The Balcony, one of off-Broadway's biggest hits. Despite its pretensions of originality, it bogs down in a miasma of unreality and philosophical despair. The play first states that men patronize brothels not for sexual satisfaction, but in order to fulfill self-illusions; to try to translate their dreamworlds into...
Anti-intellectual, full of theatrical prankishness and a fondness for humanity that is edged in bitterness, Eugene Ionesco, with Jean Genet (The Balcony) and Samuel Beckett (Waiting for Godot), is one of the main forces in what he calls the School of Paris and most people call the avant-garde theater. From an obscure job in a firm publishing legal books, he emerged ten years ago at the age of 38 to begin writing theatrical works that were generally called obscure too. But like Genet and Beckett, he has expressed his themes less in dialogue than in the structure...