paperback ebook 9.99 Quantity: 1 Add to Basket Join Faber Members for 10 off your first order.
Lavinia describes being courted by Edward as being “on the verge of some wonderful experience, and then it never happened.” At its clever moments, and there are a few, this play seems like that too. Eliot, described in the Times Literary Supplement as ‘Obviously something more than a successful play’. The action stops in its tracks when Harcourt-Reilly pontificates, but picks up, strangely, when stuck in the loneliness and stasis of ordinary life. But he adds a note of religious salvation that can make his play a sermon. Albee in making the point that our denial of ourselves crushes us more than it protects us. The play was the most popular of Eliot's seven plays in his lifetime, although his 1935 play, Murder in the Cathedral, is better remembered today. Elements of the play are based on Alcestis, by the Ancient Greek playwright Euripides. Written in the years between O’Neill’s “Iceman Cometh” and Edward Albee’s “Who’s Afraid of Virginia Woolf?,” this morality tale, which is more interesting to think about than actually to watch, is another play about delusions. The Cocktail Party (1949) is a play by T.
In this case, however, Eliot depends on Euripides’ Alkstis (438 b.c.e. He describes the good life this way: “Two people who know they do not understand each other, breeding children whom they do not understand and who will never understand them.” See, it’s a real laugh riot. The Cocktail Party First produced for the 1949 Edinburgh Festival, The Cocktail Party is, like The Family Reunion, an attempt to express modern concerns in the guise of ritualistic drama. Harcourt-Reilly is a preposterous device, the kind of thing found in a second-rate detective novel, where conflicts don’t evolve and resolve so much as they are explained away in tediously long monologues.
0 kommentar(er)
