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100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades
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- Buy It Now100 Essays I Don't Have Time to Write: On Umbrellas and Sword Fights, Parades
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eBay item number:403987309350
Item specifics
- Condition
- Publication Date
- 2015-09-15
- Pages
- 240
- ISBN
- 9780374535674
- Book Title
- 100 Essays I Don't Have Time to Write : On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater
- Item Length
- 7.1in
- Publisher
- Farrar, Straus & Giroux
- Publication Year
- 2015
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.7in
- Genre
- Literary Collections, Performing Arts
- Topic
- Theater / History & Criticism, American / General
- Item Width
- 5in
- Item Weight
- 6 Oz
- Number of Pages
- 240 Pages
About this product
Product Information
100 Essays I Don't Have Time to Write is an incisive, idiosyncratic collection on life and theater from major American playwright Sarah Ruhl. This is a book in which chimpanzees, Chekhov, and child care are equally at home. A vibrant, provocative examination of the possibilities of the theater, it is also a map to a very particular artistic sensibility, and an unexpected guide for anyone who has chosen an artist's life. Sarah Ruhl is a mother of three and one of America's best-known playwrights. She has written a stunningly original book of essays whose concerns range from the most minimal and personal subjects to the most encompassing matters of art and culture. The titles themselves speak to the volume's uniqueness: On lice, On sleeping in the theater, On motherhood and stools (the furniture kind), Greek masks and Bell's palsy.
Product Identifiers
Publisher
Farrar, Straus & Giroux
ISBN-10
0374535671
ISBN-13
9780374535674
eBay Product ID (ePID)
208693202
Product Key Features
Book Title
100 Essays I Don't Have Time to Write : On Umbrellas and Sword Fights, Parades and Dogs, Fire Alarms, Children, and Theater
Format
Trade Paperback
Language
English
Topic
Theater / History & Criticism, American / General
Publication Year
2015
Genre
Literary Collections, Performing Arts
Number of Pages
240 Pages
Dimensions
Item Length
7.1in
Item Height
0.7in
Item Width
5in
Item Weight
6 Oz
Additional Product Features
Lc Classification Number
Ps3618.U48a6 2015
Reviews
Ruhl describes the perfect audience as being wise or innocent. These essays are wise and innocent. 100 Essays I Don't Have Time to Write is a masterpiece., Sarah Ruhl's new book of essays is miraculous. The writing is evanescent while the thought is profound. I found it best to read the book in small bites, perhaps in the way that she wrote it. I carry it with me to sample regularly and repeatedly., Sarah Ruhl's new book of essays is miraculous.　The writing is evanescent while the thought is profound.　I found it best to read the book in small bites, perhaps in the way that she wrote it.　I carry it with me to sample regularly and repeatedly., Ruhl's musings may remind readers of Lydia Davis' aphoristic short stories: fresh, piquant, and slyly irreverent., Fasten your seat belts! Sarah Ruhl is back! If the characters in her plays turn into almonds or travel to the underworld in raining elevators, you can imagine the delirium she whips up in essays she didn't have time to write! Illusion and reality link arms, igniting such wonder and merriment the reader's left breathless, begging for more." --Tina Howe, author of Chasing Manet "Sarah Ruhl describes the perfect audience as being wise or innocent. These essays are wise and innocent. 100 Essays I Don't Have Time to Write is a masterpiece., Probing, bracing, and captivating . . . a cornucopia of compact, playfully profound observations on life in and out of theater., [T]he essays themselves are poignant examinations of imagination, the artistic life, mothering, and performance . . . The short format is deceptive; much like poetry, the reader occassionally comes across a few lines that say more than an entire chapter of a book., Sarah Ruhl is not only one of the most original playwrights in America but, it turns out, one of the most original and exciting thinkers about theatre and art and being in an audience, and the intersection of all these things with being a mother and a person. I love this perfect book., Fasten your seat belts! Sarah Ruhl is back! If the characters in her plays turn into almonds or travel to the underworld in raining elevators, you can imagine the delirium she whips up in essays she didn't have time to write! Illusion and reality link arms, igniting such wonder and merriment the reader's left breathless, begging for more., 100 Essays I Don't Have Time to Write is in fact a work of profound moral organization . . . its deeper purpose is to define the artist's relationship to truth and to demonstrate how, from within the correctness of the artistic process, life can be meaningfully understood . . . Ruhl has found the time to ask the right questions--it's up to us to make the time to think about her--and our--answers., Sample the acclaimed playwright's bite-size musings on Ovid, lice, the relationship between chimpanzees and subscriber audiences, and 97 other topics. They take only a minute to read, but will linger with you much longer., Reading this book is like going on a rainy day treasure hunt through the attic of Sarah Ruhl's mind. You never know what you are going to come across in the next box--ruminations on motherhood, both comical and poignant; nuggets of startlingly frank autobiography; and then out of nowhere a short, spontaneous treatise that will make you think about theatre in a whole new way., All readers, including theater buffs, will appreciate a behind-the-scenes vision of a harried Ruhl, shoeless toddler under one arm, tiny sneakers dangling by shoelaces from her teeth, stubbornly typing these pithy, diverting goodies with the other hand., Delectable . . . Admirers of Ms. Ruhl's stylistically audacious plays will not be surprised at these oddly shaped but neatly chiseled pieces, none of which run more than a few hundred words or so, and some of which are just a sentence or two. But each is tightly packed with fresh thought, smart thinking and lively humor . . . I stopped dog-earing the pages of my favorites when I realized there were barely any pages left uncreased., I have pretty much turned down every page of 100 Essays I Don't Have Time to Write to mark it to reread later. Basically, I will be rereading the whole book, and using it in my classes (and for myself) immediately. Ruhl is so smart and spot-on and capital R Refreshing about writing and art and more. An enormous pleasure., Ruhl writes pithy ruminations on language, art, and theater with a roving intelligence and compassion that are refreshingly accessible., Perceptive, funny, and intimate . . . 100 Essays reads like an extended, informal interview with one of the most original playwrights of our time . . . The essays, like her plays, bubble up with a sense of wonder, joy and excitement., Sarah Ruhl's new book of essays is miraculous.'The writing is evanescent while the thought is profound.'I found it best to read the book in small bites, perhaps in the way that she wrote it.'I carry it with me to sample regularly and repeatedly., Sarah Ruhl, the superstar playwright, collects her fascinating very short essays (most just a couple of pages) on a wide range of subjects.
Table of Content
Part One: On Writing Plays 1. On interruptions 2. Umbrellas on stage 3. On the loss of sword fights 4. On titles--comedy and tragedy 5. On titles with participles 6. On titles and paintings 7. On Andy Goldsworthy, theatrical structure, and the male orgasm 8. Don''t send your characters to reform school 9. Should characters have last names? 10. People in plays 11. An essay in praise of smallness 12. Play of ideas 13. The drama of the sentence 14. Investing in the character 15. The future, storytelling, and secrets 16. On Ovid 17. Miller and Williams; or, morality and mystery plays 18. Calvino and lightness 19. Satyr plays inside tragedies 20. On knowing 21. The necessary 22. Can one stage privacy? 23. On neologisms 24. Bad poets make good playwrights? 25. The place of rhyme in theater and is it banished forever? Part Two: On Acting in Plays 26. On nakedness and sight lines 27. The four humors: an essay in four parts 28. Greek masks and Bell''s palsy 29. Greek masks and star casting 30. Subtext to the left of the work, not underneath the work 31. On Maria Irene Fornes 32. What do you want what do you want what do you want 33. Non-adverbial acting 34. Being in a pure state vs. playing an action 35. Speech acts and the imagination 36. Everyone is famous in a parade 37. Conflict is drama? 38. The language of clear steps 39. The death of the ensemble 40. The decline of big families and the decline of cast sizes 41. Color-blind casting; or, why are there so many white people on stage? 42. Eurydice in Germany 43. Eating what we see 44. Dogs and children on stage 45. On fire alarms Part Three: On People Who Watch Plays: Audiences and Experts 46. On sleeping in the theater 47. Wabi-sabi 48. Is one person an audience? 49. Chimpanzees and audiences 50. On pleasure 51. Reading aloud 52. Buber and the stage 53. God as an audience: a non-syllogism 54. Do playwrights love the audience and should they? 55. Hungry ghosts, gardens, and doing plays in New York 56. Advice to dead playwrights from contemporary experts 57. What of aesthetic hatred, and is it useful? 58. More failure and more bad plays 59. It''s beautiful, but I don''t like it 60. Is there an objective standard of taste? 61. Why I hate the word whimsy . And why I hate the word quirky . 62. A scholarly treatise on the parents of writers 63. William Hazlitt in an age of digital reproduction 64. The strange case of Cats 65. Can you be avant-garde if you''re dead?; or, the strange case of e.e. cummings and Thornton Wilder 66. The American play as audition for other genres 67. O''Neill and Picasso 68. Confessions of a twelve-year-old has-been 69. Is there an ethics of comedy, and is it bad when comedies make people laugh? 70. On writing plays for audiences who do not speak 71. The age of commentary 72. Writing and waiting 73. Theater as a preparation for death 74. Watching my mother die on stage Part Four: On Making Plays with Other People: Designers, Dramaturgs, Directors, and Children 75. On lice 76. Mothers on stage 77. On motherhood and stools (the furniture kind) 78. Must one enjoy one''s children? 79. The meaning of twins on stage 80. Is playwriting teachable?: the example of Paula Vogel 81. Bad plays and original sin 82. A love note to dramaturgs 83. Children as dramaturgs 84. Democracy and writing a play 85. What about all that office space? 86. Ceilings on stage 87. Storms on stage 88. Snow on stage 89. Gobos, crickets, and false exits: three hobgoblins of false mimesis 90. Oh the proscenium and oh the curtain 91. Exits and entrances and oh the door 92. Theatrical as a dirty word for architects 93. Archaeology and erasers 94. On standard dramatic formatting 95. On the summer Olympics and moving at the same time 96. The first day of rehearsal 97. On watching Three Sisters in the dark 98. The audience is not a camera; or, how to protect your audience from death 99. On endings 100. On community theater
Copyright Date
2015
Dewey Decimal
814/.6
Intended Audience
Trade
Dewey Edition
23
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eBay item number:403987309350
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