x_los: (Default)
This was fairly promising historical fiction, though admittedly it didn’t ask a lot of me. First episodes often wobble as they get their sea legs though, that’s the nature of them.

What did annoy me about this (and to a degree about “Cry Murder! In A Small Voice”) is the “wahey!!” quality of the piece’s references to men fucking men. Both attempt to be normative and cool about the topic, but the pointed way they refer to homosexual encounters and the frequency with which they do so make it seem as though this is not actually a normal, assumed, textural element of the speaker’s world. You can feel the writer being spicy and Inclusive about something they’ve learned about the past and find jarring, and believe you, too, will find provocative, salacious, or funny. It’s very cringe, very het-facing. I don’t like having then-unremarkable incidents of historical queerness heavily interpolated for me via the filters of a presumed-het core audience.
x_los: (Default)
I listened to this recording.

- This play is so interesting as a theatrical experiment. The poor women's chorus is very lyrically powerful, but the decision to amalgamate the poor/women into a varied but nameless composite entity is--it's always gonna be what it is. Intrinsically a bit limiting and insulting, in a play about particular men's social power, choices, decisions. The only place the chorus's crumbles is, unfortunately, the ending, during which the polyphonic quality of the voices (at least in this recording) rendered key lines disappointingly unclear.
- What does it do to stagger the climax and feature an extended denouement?
- I think this is the most I've ever liked Eliot? (I realise that's not saying much, but.)
- The bit where the lords defend themselves for the murder is unexpectedly very funny.
- It’s fast Shakespeare dialogue shit, so it’s going to take me more than one listen to really engage with this.
- There’s some beautiful moments of language in this. Eliot’s thought is more earnest and above-board than usual, here. He lays out his calculations in a manner that invites you to follow and engage with the questions fairly--for once, he isn't dealing in modernist obscurantism.
- It’s very good at staging multiple points of view and at explicating the historical situation, in the end—for most of the play I was wondering, 'why DOES the king want him dead, again?' But that’s fairly evident in the end, even if Becket’s immediate provocations remain fragmentary. (They aren't, after all, as important as the core sin of no longer being biddable.)
x_los: (The Books One)



"Translations" is set in English-occupied rural Ireland, and concerns:

a) a project to create an accurate map of Ireland complete with English place-names (the Ordinance Survey),
b) the soliders here to carry out this task,
c) some inhabitants of a village they've come to rename, and
d) a romance and a family which uneasily span and occupy both aforementioned categories of participation.

It is elegant and quick. While it says nothing hugely world-view changing* if you've already considered the topic in any depth, it might successfully introduce the issues to younger students. With capable grace, this play--in a manner befitting its theme--maps out the unplottable, shifting territory of language/education and colonization, of resistance and collaboration, progress/globalizing loss of identity versus tradition/limitation of opportunity, and of class/gender in that context. It is a readily comprehensible, beautiful play.

The ending is frustratingly ambiguous and feels unfinished--not so much because nothing is resolved, but because it feels abrupt and anti-climactic. Perhaps for that reason I wouldn't specially select it to give to a playwrighting friend. Even so, I would recommend it to anyone with a special interest in Ireland and Irish literature, teacher-friends, or anyone interested in cultural linguistics--not because it would present them with fresh intellectual challenge, but because it is a sound, lovely encapsulation of good ideas on the topics.

* Though perhaps, in 1980 when it was written, it had more immediate theoretical resonance?
 Esp. re: then-contemporary Northern Ireland?
x_los: (Daleks Venerate Shakespeare.)
Next to Normal is as viscerally affecting as it is uncommercial; I have no idea how or why it’s on Broadway proper (which you’re supposed to be able to take your visiting cousins from Kansas who are religious and easily offended to), but here it is, with its dozens of uses of fuck, and it is excellent. And terrible. If you have mental illness/depression issues, I almost /don’t/ recommend seeing it, because as good as it is I straight up went through 10+ tissues and sobbed silently and violently from what must have been the third scene almost straight through.

You've got a feelin'--it's electroshock! Boogie woogie woogie woo woo... )
x_los: (Daleks Venerate Shakespeare.)
Next to Normal is as viscerally affecting as it is uncommercial; I have no idea how or why it’s on Broadway proper (which you’re supposed to be able to take your visiting cousins from Kansas who are religious and easily offended to), but here it is, with its dozens of uses of fuck, and it is excellent. And terrible. If you have mental illness/depression issues, I almost /don’t/ recommend seeing it, because as good as it is I straight up went through 10+ tissues and sobbed silently and violently from what must have been the third scene almost straight through.

You've got a feelin'--it's electroshock! Boogie woogie woogie woo woo... )
x_los: (Rani doesn't care)
fuckfuckfuck. The ONE person I didn't want to deal with in the history department is who I have to go through according to most recent email. (Well, one of two people, tbh.) GodDAMMIT.

Ah well.

Something Old and Something New )
x_los: (Default)
fuckfuckfuck. The ONE person I didn't want to deal with in the history department is who I have to go through according to most recent email. (Well, one of two people, tbh.) GodDAMMIT.

Ah well.

Something Old and Something New )

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