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| re: INDECENT questions: MAJOR SPOILERS and way too long | |
| Posted by: ryhog 12:52 pm EDT 07/08/17 | |
| In reply to: INDECENT questions: MAJOR SPOILERS and way too long - lordofspeech 11:01 am EDT 07/08/17 | |
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| I think what your post and some of the responses tell us is that some people are more fond of literality than others. And some care more about the minutiae than the big picture. There is nothing wrong with that; the same things don't appeal to all of us in the design of a play any more than in, say, the design of our living rooms. Collaterally, some folks like clear resolutions whereas others like plays that leave things to the viewer's imagination. To me this is a play that (to its credit), despite having an obvious intention and point of view, does not beat a singular point into the audiences' heads. I've always thought that Paula's plays (and a sizable percentage of off-B and off-off plays) work best for those who can relax at the theatre. I don't think that's your style. I'm curious, if you go to a museum, MOMA or the Met? | |
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| re: INDECENT questions: MAJOR SPOILERS and way too long | |
| Posted by: TheOtherOne 01:40 pm EDT 07/08/17 | |
| In reply to: re: INDECENT questions: MAJOR SPOILERS and way too long - ryhog 12:52 pm EDT 07/08/17 | |
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| Ah, you are respectfully trying to get to the root of our varying tastes and opinions! For what it's worth, I go to MoMA more often though I am less likely to ever find the Met disappointing, and I see more plays off- and off-off-Broadway than on. I suppose it's possible that I hold the Met and Broadway to a higher standard, but I am fairly certain I would have had the same response to "Indecent" at the Vineyard that I had at the Cort. | |
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| re: INDECENT questions: MAJOR SPOILERS and way too long | |
| Posted by: ryhog 02:06 pm EDT 07/08/17 | |
| In reply to: re: INDECENT questions: MAJOR SPOILERS and way too long - TheOtherOne 01:40 pm EDT 07/08/17 | |
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| The met/moma thing was really just a throwaway on my part-not some seriously thought out barometer of anything. Likewise, I don't think we can generalize about on vs off-B, if for no other reason than because so much of the former arises from the latter. I do think that there is a somewhat broader and (somewhat) valid taste observation that has to do with how literal and "tight" a play is. And I think we see more of a collision on Broadway, because there is a smaller portion of the audience that is interested in what I called the relaxed approach to viewing theatre. I think, as an example, this is why people like Will Eno causes the sort of convulsive reactions we have seen. On Broadway, I think (without intending to be exclusive about it) he is close to the outer edge, whereas off and off-off B there is a lot of much more extreme and experimental work extending back to the Richard Foreman fever dream margin. FWIW I do think it is worth talking about the roots of taste to the extent we can make sense of it. |
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