Access

You are not currently logged in.

Login through your institution for access.

login

Log in to your personal account or through your institution.

Playwrights for Tomorrow

Playwrights for Tomorrow: A Collection of Plays, Volume 13

EDITED, WITH AN INTRODUCTION, BY ARTHUR H. BALLET
Copyright Date: 1975
Edition: NED - New edition
Pages: 320
Stable URL: http://www.jstor.org/stable/10.5749/j.cttttsd6
Find more content in these subjects:
  • Cite this Item
  • Book Info
    Playwrights for Tomorrow
    Book Description:

    Four plays by writers who have worked under the auspices of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota are published in this volume, the thirteenth in the series of such collections. The O.A.D.R. program, which is directed by Arthur H.. Ballet, the series editor, provides an opportunity for promising playwrights to work with cooperating theatres in the production of their plays. The plays in this volume are The Tunes of Chicken Little by Robert Gordon, The Inheritance by Ernest A. Joselovitz, Blessing by Joseph Landon, and The Kramer by Mark Medoff. Three of the plays--those by Robert Gordon, Joseph Landon, and Mark Medoff--were produced by the American Conservatory Theatre of San Francisco. The play by Mr. Joselovitz was presented by the University of Minnesota Theatre in Minneapolis. In his introduction Mr. Ballet comments on the achievements and problems of the O.A.D.R. program. He reports that since the program began it had had about one hundred plays produced in some sixty theatres, not only in the United States but also in Australia, New Zealand, Scotland, and Canada. However, he writes, it became increasingly difficult to find playhouses willing to risk the challenge of new plays and playwrights. “More dangerous still,” he writes, “has been the tendency for some directors to make theatre their own, highly personal art. Because so many of these directors only like what they know, and they don’t know what to make of new work at all, they cannot truly judge and anticipate as a stage piece anything beyond their immediate ken. The rejections are cavalier and unthinking. The directors’ lament that there are no new, exciting playwrights must be answered with the accusation that there really are damned few new, exciting, perceptive directors.”

    eISBN: 978-0-8166-6133-6
    Subjects: Language & Literature
    × Close Overlay

Table of Contents

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

    Twelve years ago, when the Office for Advanced Drama Research (O.A.D.R.) first got under way, we could hardly have known that we’d read nearly ten thousand plays; that we’d manage to get produced—more or less—about a hundred plays in some sixty theatres; that, in 1974, the project would extend (on a trial basis) to theatres outside of the United States (including Australia, New Zealand, Scotland, and Canada); or that we would be reading plays from all over the globe.

    Essentially, the project is a simple one. And it is small. Every play submitted is carefully read. Each year...

  4. The Tunes of Chicken Little (pp. 7-106)
    ROBERT GORDON

    The play is written for seventeen actors. There are two cases where an actor is required to take two roles, that of Joe-Counsel and Davis-Rutherford. While it might be possible to double up on other roles, this is to be strongly discouraged, given the subject of the play.

    In the center, a small cage supported by two poles, a toy drummer attached to its side. At the rear of the stage, another cage, identical to the small one except for its size: its poles are six feet high and it is large enough to hold a human. This cage, too,...

  5. The Inheritance A DRAMA IN THREE ACTS (pp. 107-170)
    ERNEST A. JOSELOVITZ

    The actions in this drama extend over a period of about ten years in the life of Willa Neuwald, beginning in the mid-1950s. Its first scene takes place in New York City. Thereafter the drama continues in Los Angeles.

    Willa and her mother sit facing each other at a simple wooden kitchen table. At the elbow of each, a glass of milk-and-coffee, on a saucer. Willa is selecting— face down—twelve cards from a worn and faded deck, with an occasional, careful attempt to spot the “right” cards. Meanwhile, Mama, with immaculate skill, pours a small amount of coffee down...

  6. Blessing (pp. 171-232)
    JOSEPH LANDON

    AGNES

    Hiya, Sal. Got the yams. Happy Thanksgiving. You got the turkey? Let’s see. (She goes to the oven after handing the bag to Sal.) Wow, are we gonna eat alla that? Here’s my two dollars and Fred’s too—right now . . so I don’t forget. (She fishes four singles out of her purse.) It’s gonna be super. So what’s cooking? (She laughs at her own joke. Sal is staring at Agnes.) How ’bout some coffee? (Sal nods and fetches a cup and saucer.) Boy, you know Fred and me, we saw a movie last night. Really good! It’s...

  7. The Kramer A PLAY IN TWO ACTS (pp. 233-308)
    MARK MEDOFF

    MALIN

    (introducing himself, hand extended) Art Malin. (after an uncomfortable moment during which his introduction and extended hand are ignored, turning to study the absent banner with Kramer) I’m supposed to welcome you to the Washington Institute of Secretarial Sciences. (Nothing from Kramer, so he reads the banner.) “friday is a five-day week at wiss.” It’s like Girl Friday, see? At WISS, see, what we’re turnin’ out is girls that’re Girl Fridays every day. Very fuckin’ clever, wouldn’t ya say? (Kramer does not respond.) You can relax, man. Ya hafta be a moron to figure out what that banner means....