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Searching... ENC Nease Library | PS3566 .A736 A15 2006 | BOOK | Searching... Unknown | Searching... Unavailable |
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Summary
Summary
A unique, year-long play cycle from the Pulitzer Prize-winning author of Topdog/Underdog.
On November 13 2002, Suzan-Lori Parks had an idea to write a play every day for a year. She began that very day, finishing one year later. The result is an extraordinary testament to artistic commitment.
This collection of 365 impeccably crafted pieces, each with its own distinctive characters and dramatic power, is a complete work by an artist responding to her world, each and every day. Parks is one of the American theatre's most innovative writers.
'Every day I would wake up and ask myself, "Ok, so what's the play?" and I wrote what came. The plan was that no matter what I did, how busy I was, what other commitments I had, I would write a play a day, every single day, for a year. It would be about being present and being committed to the artistic process every single day, regardless of the "weather". It became a daily meditation, a daily prayer celebrating the rich and strange process of a writing life' Suzan-Lori Parks
'Suzan-Lori Parks is one of the most important dramatists America has produced' Tony Kushner
Reviews (1)
Choice Review
Pulitzer Prize-winner Suzan-Lori Parks created this collection in the span of a year, writing a play a day from November 13, 2003, to November 12, 2004. Clearly, these 365 plays offer an inevitable overdose of characters, situations, and themes, and treatment of such a collection in a brief review perhaps does disservice to Parks' creative genius. The sheer variety of form and content is an achievement in itself. Parks moves elegantly between short one-act pieces, two-liners that showcase the crowd in the background, kinetic pieces of pure movement, and live silent tableaux. The plays range from send-ups of classical Greek tragedy to works about contemporary presidents and their wars. Sometimes the pieces flow into each other through recurring characters, props, or self-references. Recurring images (the King is alive--Martin Luther King, that is), props (the red carpet), and themes (fathers coming home from wars) bring the collection together into a loosely knit whole. Singling out noteworthy pieces is difficult. The best way to describe the collection is as a serious of snapshots taken with the playwright's creative camera. Summing Up: Recommended. All readers; all levels. K. Tancheva Cornell University