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Playwrights for Tomorrow

Playwrights for Tomorrow: A Collection of Plays, Volume 2

Copyright Date: 1966
Edition: NED - New edition
Pages: 292
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  • Book Info
    Playwrights for Tomorrow
    Book Description:

    This is the second volume of a collection of plays by writers who have participated in an experimental program at the University of Minnesota under the auspices of the Office for Advanced Drama Research, of which Arthur H. Ballet is the director. Three young playwrights, Maria Irene Fornes, Nick Bortez, and Lee H. Kalcheim, are represented in the collection with two one-act plays and two three-act plays. Under the program, which is described by Dr. Ballet in his introduction, promising young playwrights are given assistance in developing their talents. Among other opportunities, they are offered the chance to have their plays actually produced. The plays in this volume are Tango Palace and The Successful Life of Three: A Skit for Vaudeville, two one-act plays by Maria Irene Fornes; Shelter Area, a three-act play by Nick Boretz; and The Boy Who Came to Leave, a three-act play by Lee H. Kalcheim. In addition to the scripts, each playwright provides a discussion of his work in a preface. Production data for each play are given also. Both of the plays by Miss Fornes were produced at the Firehouse Theatre in Minneapolis, and Tango Palace also was given at the Actor’s Workshop in San Francisco. Shelter Area was presented in the Playwrights’ Premiere Season at the University of Minnesota. Mr. Kalcheim’s play was given at the Theatre in the Round, Minneapolis. The plays in this volume and in Volume 1 of the collection range widely in theme and subject matter but they share a common trait - each represents a new and exciting voice in the American theatre.

    eISBN: 978-0-8166-6134-3
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. [i]-[iv])
  2. Table of Contents
    (pp. [v]-2)
    (pp. 3-6)
    Arthur H. Ballet

    Of the artists who band together to share the theatrical experience, the playwright’s lot is the loneliest and perhaps the most difficult. In modern America, he generally writes in a vacuum, deprived of colleagues, of intellectual stimulation, and of meaningful theatrical contact.

    This isolation of the writer is disastrous. Historically, the important contributions to theatre have come from writers who were intimately involved as artists and as people with a specific theatre or at least with an individual school of ideas and practice.

    The plight of the new writer is especially critical. There is ample assurance that he can, alone...

  4. Two One-Act Plays
    (pp. 7-74)

    To say that a work of art is meaningful is to imply that the work is endowed with intelligence. That it is illuminating. But if we must inquire what the meaning of a work of art is, it becomes evident that the work has failed us; that we have not been inspired by it; that the work has not succeeded in breathing its life for us.

    To approach a work of art with the wish to decipher its symbolism, and to extract the author’s intentions from it, is to imply that the work can be something other than what it...

  5. Shelter Area
    (pp. 75-150)

    The play presented here is somewhat similar to the original idea. Through the infiltration course of production many changes occurred. This whole business is unimportant now. I changed my mind many times about what the play meant, but there was always something that kept bringing to mind a musty kind of dead temple or Greek antiquity. In this play’s ending is woven the grotesque pathos which tragedy has become.

    I am grateful that the production ofShelter Areacame off under the guidance of the Office for Advanced Drama Research. The production combined with critical evaluations gave me new directions...

  6. . . . And the Boy Who Came to Leave
    (pp. 151-283)

    If I were to design some sort of paradise for playwrights, it would include a huge machine in which the writer would deposit his play as soon as he finished it. The machine would then cast, rehearse, and produce the play immediately. The playwright seeing the production would then rewrite . . and go through this process again, until he was satisfied.

    I should think better plays would be written. Plays are difficult to write, because they must really be performed in order for anybody to tell how effective they will be. A good playwright has a theatrical instinct. He...