Threaded Order Chronological Order
| re: "Slave Play" playwright's 25-Tweet Thread | |
| Posted by: FasterTheater 01:53 pm EST 12/29/18 | |
| In reply to: re: LGBTQ Nation article about "Slave Play" - AC126748 12:52 pm EST 12/29/18 | |
|
|
|
| Did anybody else read Jeremy O Harris's 25 Tweet thread? What struck me were the passages in which he said he wanted his play to be "produced in a small, intimate space." "Slave Play was written to be anti-institutional a little bomb I could place inside the one institution that had to produce it, Yale....Me being the one playwright in my year who didn’t want to have a career like an August Wilson, a Stephen Adly Guirguis, a John Guare set me apart. I wanted to be Rainer Werner Fassbinder or Adrienne Kennedy. On the fringe and writing punk rage plays that institutions don’t do....So imagine my surprise when a theatre, an institution wanted to do it...." Here's what I'm grappling with: If he wanted it to be "a little bomb" in "a small, intimate space," why is he 1. surprised that it exploded and 2. why did he not only agree to have it produced in an "institution" but went along with all the many interviews and profiles and TV segments? For a playwright who's still a student making an Off-Broadway debut, he got a stunning amount of publicity. |
|
| reply to this message |
| re: "Slave Play" playwright's 25-Tweet Thread | |
| Posted by: Singapore/Fling 10:08 pm EST 12/29/18 | |
| In reply to: re: "Slave Play" playwright's 25-Tweet Thread - FasterTheater 01:53 pm EST 12/29/18 | |
|
|
|
| For me, the fact that NYTW produced it is the proof that the play is far more well-behaved and unexplosive than he thinks it is. He's very much an institutional playwright, and the institution has embraced him fully. | |
| reply to this message |
| re: "Slave Play" playwright's 25-Tweet Thread | |
| Posted by: Chazwaza 06:26 pm EST 01/02/19 | |
| In reply to: re: "Slave Play" playwright's 25-Tweet Thread - Singapore/Fling 10:08 pm EST 12/29/18 | |
|
|
|
| This is fully by design. As smart and talented as he is, in many ways he is the emperor's new clothes. And this is from someone who thought Slave Play was very worthwhile... in fact my main issues with it were that it didn't break through to much outside of the concept, beyond the subject matter it didn't stay with me very long, and an entire HALF of the play is some of the least theatrical theatre I've seen in a long time within a play that is supposedly incredible theater. The entire section of them sitting and discussing what we just saw... what a bafflingly lazy way to write a play with such an interesting subject matter. | |
| reply to this message | reply to first message |
| re: "Slave Play" playwright's 25-Tweet Thread | |
| Posted by: Ncassidine 01:58 pm EST 12/29/18 | |
| In reply to: re: "Slave Play" playwright's 25-Tweet Thread - FasterTheater 01:53 pm EST 12/29/18 | |
|
|
|
| His answer seems to be in the same thread: "I hadn’t really remembered that institutional critique was en Vogue and was becoming an engine for capital. ESPECIALLY black institutional critique. Kendrick has a Pulitzer. Adrian Pipers at MoMa. Get hip! I had been elated the last few months. Feeling that somehow I had snuck this insane play into the system it was meant to disrupt from the outside. Now, maybe, just maybe, it could do more insane things from the inside." | |
| reply to this message | reply to first message |
| re: "Slave Play" playwright's 25-Tweet Thread | |
| Posted by: FasterTheater 02:10 pm EST 12/29/18 | |
| In reply to: re: "Slave Play" playwright's 25-Tweet Thread - Ncassidine 01:58 pm EST 12/29/18 | |
|
|
|
| Yeah, well, maybe that was naive? | |
| reply to this message | reply to first message |
Time to render: 0.012878 seconds.