By Ruby Cohn
The inspiration of a latest cross-cultural alternate in the medium of theater is right here imposed on a dozen modern Anglo-American dramatists: Alan Ayckbourn and Neil Simon, Edward Bond and Sam Shepard, David Mamet and Harold Pinter, Caryl Churchill and Maria Irene Forn?s, David Hare and David Rabe, Christopher Hampton and Richard Nelson. In every one pairing, Ruby Cohn unites a British with an American playwright, exploring similarities that function a springboard for the publicity of a extra profound, culturally-based distinction.
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Extra info for Anglo-American Interplay in Recent Drama
Answers to some of those problems (all subsequent work). However Bond may displace his settings to feudal Japan or Jacobean Stratford, his own Western contemporary world - and ours is at stake. In some thirty plays - the majority set in his native England - Bond dramatizes ideas by means of complex fables that involve coherent characters speaking pithy dialogue in decentered scenes. Although Bond boasts of his Rational Theatre, he does not hesitate to introduce such irrational elements as ghosts, dreams, and fantasies.
In Jack's absence his wife and elder daughter are threatened by the detective, who is then toppled into the bathtub by Jack's younger daughter, a drug addict. The Italian connection gets rid of the body, but the representative Rivetti demands payment: "I mean, their bill for the removal and disposal of our friend is costing an arm and a leg, if you'll pardon the expression" (and if you'll pardon the Simonized line). What it costs is distribution by the small family business of "urgent medical supplies," or drugs.
When Shepard returned to the West Coast after two years in England, where Tooth was composed, he seemed cured of professional aspiration as a musician, but musical artists depart only slowly from his plays. Both works of 1976, Angel City and Suicide in B-Flat, place musicians onstage. " Reluctantly, Tympani helps Rabbit in his search for a disaster. Tympani's rhythm entrances Miss Scoons, a sexy secretary who yearns to be a film star. By Act II Tympani plays drums as though he were a short-order cook with a griddle, and he arrives at a startling insight: " .