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Topless Mum (Oberon Modern Plays)

Ron Hubbard Books , Paperback L. Back to home page. It seems to me that most critics agree on the description of his method: for example, that the dramatic action in his plays is sparse, bordering on non-existent. That the action moves around in a circle, returning to the point of departure, ignoring all the turning points of classical drama. That there is nothing to grasp in these poetic, atmospheric, often enigmatic texts.

But fragility is not gossamer. Like any original creative dramatist, he writes for a theatre that does not yet exist. It is up to his executors — in whom I include the audience — to dream of realising it one day.

He uses an absolute minimum of words to say almost the same thing: come, go, not, maybe, visit, stay, wait, together, something, disappear, a little, yes, no… But he gives us these words anew. Roughly speaking, theatre can be approached in two ways. Without this heritage, these long-standing skills, the theatre would soon become sterile and, in due course, die out as an art form. In the other case, a new, radical theatre is built on the ruins of the old, creating the main furrow of modern theatre, with Craig, Artaud, Reinhardt and Meyerhold in the first phase, followed by Brecht, Copeau, Strehler, Peter Brook, Jerzy Grotowski, Peter Stein, Ariane Mnouchkine, Christoph Marthaler and others in phase two; also including of course directors such as Robert Wilson and Robert Lepage, two post-Modernist offshoots of the pioneering spirit of Modernist theatre.

A tradition of tabula rasa and technical advances. No matter how much you search for Ibsen and other sources of inspiration in his work — and find them — he still remains an isolated phenomenon in western drama, at once modern and timeless. Samuel Beckett, Thomas Bernhard, Peter Handke and Elfriede Jelinek — these have all influenced him, though more, perhaps, by offering resistance to inert theatrical convention and blatant awareness than by their way of writing.

But they do indicate a path beside naturalism, psychology and drama of ideas. As a young novelist, Fosse wrote in a Modernist tradition rooted in, amongst others, Virginia Woolf: labyrinths of awareness, with quick interchanges between the external and internal. Occasionally, he takes a theme from his prose and adapts it for drama; conversely, an event from a play may turn up in a novel. If nothing else, there is a strong lyrical streak in all his writing, a musicality that gives his words a magical, conjuring tone, at once simple and intense. A couple of years ago he wrote his first hymn, and it would be surprising if more do not follow.

Having said that, something decisive happened at the moment when he decided to write for the stage; as if the theatre liberated something in his own vision; as if the stage itself, with its definite prerequisites of time, space and physical presence supplied the substance of his plays: the elementary conditions that determine human existence on earth.

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Create a List. Read on the Scribd mobile app Download the free Scribd mobile app to read anytime, anywhere. Index 1. During the late s and the first half of.