Maison d'édition: e-artnow
Riders to the Sea is a play written by Irish Literary Renaissance playwright John Millington Synge. During his stay on the Aran island of Inishmaan, Synge heard the story of a man from Inishmaan whose body washed up on the shore of an island of County Donegal . That occasion inspired him to create the presented here play.
Set against the backdrop of a small college town, the Heyst's familial tensions converge during the holiday weekend; not only is the family's livelihood at stake, but the debt collector has just come into town, the youngest daughter has returned from an institution unprompted, and there's even a question of fidelity to boot. However, against the simplicity of communal gatherings and the warmth of familial bonds, the worries that once seemed insurmountable begin to fade. And through the lens of Easter's promise of renewal, Strindberg suggests that life's burdens may be lighter than they appear, offering a glimpse of hope amidst the chaos of everyday existence.Voir livre
'A nation that devours another will one day devour itself.' Set when the Great Devouring comes home, England & Son is a kaleidoscopic odyssey, where disaster capitalism, empire, Thatcherite politics, stolen youth and stolen wealth merge into the tale of a working-class boy who just wants his dad to smile at him. With some deep, dark laughs – and some deep, dark love – England & Son is a one-man play by Ed Edwards, first performed by the celebrated political comedian Mark Thomas. It was first produced by HOME Manchester and Tin Cat Entertainment, and premiered in Paines Plough's Roundabout during the 2023 Edinburgh Festival Fringe, directed by Cressida Brown, where it won a Fringe First Award. It went on to win the New Writing Award at the OffFest Theatre Festival Awards in 2024. This edition also features an illuminating essay by the author, 'Writing the End of Empire'.Voir livre
'The way they're changing endz is nuts.' Red Pitch. South London. Three lifelong friends Omz, Bilal and Joey are playing football. Like they always have. Living out dreams of football stardom. Beyond their football pitch, local shops are closing, old flats are being demolished as new flats shoot up, some residents struggle to stay while others rush to leave. A coming-of-age story about what it means to belong somewhere, Tyrell Williams' fast-paced and sharp-edged play tells a powerful story about gentrification, regeneration and the impact of this relentless change on London's communities. Red Pitch received an ecstatic critical and audience response when it was first performed at the Bush Theatre, London, in February 2022, directed by Associate Artistic Director Daniel Bailey. The production was revived at the Bush in September 2023, and transferred to @sohoplace in London's West End in March 2024. For Red Pitch, Tyrell Williams won the Evening Standard Theatre Award and the Critics' Circle Theatre Award both for Most Promising Playwright, The Stage Debut Award for Best Writer, the George Devine Award, as well as the Off West End Award for Best New Play. An earlier version of the play was presented in June 2019, as part of the Untold Season at Ovalhouse, London.Voir livre
The debut collection of an exciting new voice in poetry Please make me pretty, I don't want to die explores tactility, sound, sensuality, and intimacy. Set across the four seasons of a year, these fresh and original poems by Tawanda Mulalu combine an inviting confessional voice and offbeat imagery, and offer an appealing mixture of seriousness and humor. The speaker of these poems probes romantic and interracial intimacy, the strangeness and difficulty of his experiences as a diasporic Black African in White America, his time working as a teacher's assistant in a third-grade classroom, and his ambivalent admiration for canonical poets who have influenced him, especially Sylvia Plath. Juxtaposing traditional forms such as sonnets and elegies with less orthodox interjections, such as prose-poem "prayers" and other meditations, the collection presents a poetic world both familiar and jarring—one in which history, the body, and poetry can collide in a single surprising turn of image: "The stars also suffer. Immense and dead, their gasses burn / distant like castanets of antebellum teeth. My open window / a synecdoche of country."Voir livre
The Telling by Julia Webb is a distinctive and acutely-observed collection of poems that unravel the intricacies at the heart of human relationships – an insistent, quietly fierce tour de force from this Forward Prize commended poet. Moving and dark, we uncover the things that go unspoken between people despite their closeness. In turning her forensic focus on what makes us human, and in particular what it is that glues us together or causes us to come apart, Julia Webb's poetry examines the wreckage of complex lives to understand where the fault lines and fractures lie. What are the stories that construct our families and relationships, and who gets to tell them? Can we trust the stories we inherit, and what happens when we recover the right to tell things for ourselves? These compelling, taut poems crackle with the electricity of the untold – of flawed humans and hurt, of daring and being, of reclaiming and persisting.Voir livre
2007 Winner of the Pat Lowther Award and a Lambda Literary Award If you open your mouth, ache. If you don’t open your mouth, swelter. If you open your mouth but hold your breath, ether. If you look for colour, coral and tea leaves. If you follow the moon, wet and concrete. If you cling to the earth, pistol and candy apple. If you give up your garden, maze and globe, hydrangeas and moon vines. If you lose your shoes, pumice and strain. If you have no money, tin and clang. As meditative practices focus on the axis of breath, these poems focus on the moment of action, of thought, on the flux of speech. This is a poetry not of snapshots or collages but of long-exposed captures of the not-so-still lives of women. One sequence imagines Virginia Woolf’s childhood; another unmakes her novel The Waves by attempting to untangle its six overlapping narratives. Yet another, ‘On the Scent,’ makes us flâneurs through the lives of a series of contemporary women, while ‘The River Is All Thumbs’ uses a palette of vibrant repetition to ‘paint’ a landscape. Queyras’s language – astute, insistent, languorous – repeats and echoes until it becomes hypnotic, chimerical, almost halluncinatory in its reflexivity. How lyrical can prose poetry be? How closely can it mimic painting? Sculpture? Film? How do wemake a moment firm? These ‘postmodern,’ ‘postfeminist’ poems pulse between prose and poetry: the line, the line, they seem to ask, must it ever end? ‘Laced with Virginia Woolf-inspired content, Queyras cultivates a rhythm that rocks the reader through a frontier map of the twenty-first century woman ... Lemon Hound's unique rhythms provide immediate gratification while its layered substance affords greater fulfillment with each reading.’ – VerseVoir livre
