Word: woolf
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Dates: during 1980-1989
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...contemplation of this act, and the decision to go through with it, that provides Talmage with the framework for his play. Perhaps despairing of handling the glittering literary cast that thronged through his characters' lives, the playwright turns everyone from Virginia Woolf to Carrington's sailor-lover into throwaway lines. As a theatrical contrivance this works amusingly. But it is one thing to simplify, for dramatic convenience, the structure of historical lives and quite another to oversimplify their emotional tenor. In Talmage's hands, the brilliant Strachey becomes a fussy queen; the dangerously unstable Carrington, a ditsy...
...other vision. He crusaded particularly for Beckett, and his productions of Waiting for Godot, Endgame and Krapp's Last Tape, among others, profoundly influenced the course of modern theater. Also closely associated with Albee, Schneider won a 1962 Tony Award for directing Who's Afraid of Virginia Woolf? Throughout his career, he resisted any single approach to theater, alternating between commercial and workshop projects, Broadway and regional stages, avant-garde and conventional plays. He once professed disappointment at not directing more classics, but then observed, "A number of the plays I directed when they were new have turned...
MANY GOOD NOVELS take place from within a character's mind. Most of Crime and Punishment, for example, is seen through Raskolnikov's eyes. And while Virginia Woolf's To the Lighthouse is told in the third person, there is no real narrator, causing the reader to slip from mind to mind with no perceptible voice to bridge the gaps. All that floating free sometimes can give readers mental seasickness. To avoid this, most authors use plot for ballast. The plot structures the thoughts, the thoughts give added resonance to the "real events." In A.N. Wilson's Wise Virgin, however...
...narration treats Tibba's fantasies and eventual blossoming love-life ironically, it at least gives us something substantive to grab hold of. The picture of Tibba that we get from her father's musings is quite pathetic: it is not until we catch her pretending to be Virginia Woolf that we start chuckling at her. Her scenes with Piers Peverill, head boy at her uncles's boarding school, are delightful ("you were very good at kissing. Fox, but I really want to have it off with you as soon as possible"): Peverill, a charmer who gets away with every kind...
...examination of creativity's demands and its essential place in the artist's life, she holds up the example of Virginia Woolf's classic A Room of One's Own, and rewrites it from the Black woman's perspective. What, she asks, were women to do who not only could have no room and no financial independence, but who could barely claim their bodies as their own' And what of women like her mother, who raised a large family with hardly a moment to themselves' They found a way, she responds...