Suzan-Lori Parks je oceněná americká dramatička a scenáristka, jejíž tvorba zkoumá hluboké vrstvy lidské zkušenosti. Její hry jsou známé svou inovativní strukturou a poetickým jazykem, který proniká k jádru složitých témat. Parks často reflektuje americkou historii a její dopad na současnost, přičemž její díla jsou plná naléhavosti a umělecké zdatnosti. Její přístup k psaní je jedinečný a obohacuje svět dramatického umění.
An unflinching look at race in the twenty-first century.Thirty-somethings Leo, Misha, Ralph and Dawn have been inseparable since college. Their connection with each other is stronger than anything else - until Leo is assaulted by the police in a racially motivated incident, and he brings to the group an extreme proposition...
A new play by the Pulitzer Prize-winning author of Topdog/Underdog.
On November 13, 2002, the incomparable Suzan-Lori Parks got an idea to write a play every day for a year. She began that very day, finishing one year later. The result is an extraordinary testament to artistic commitment. This collection of 365 impeccably crafted pieces, each with its own distinctive characters and dramatic power, is a complete work by an artist responding to her world, each and every day. Parks is one of the American theater's most wily and innovative writers, and her "stark but poetic language and fiercely idiosyncratic images transform her work into something haunting and marvelous." (Time Magazine) Note: Theatre makers are welcome to present an assortment of selected plays from 365 Days/365 Plays. A presentation of 31 or more plays is considered "Full-Length," while a presentation of 30 or fewer plays is considered "One Act." All presentations must include the three plays known collectively as "The 3 Constants."
A darkly comic fable of brotherly love and family identity. The play tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretelling a lifetime of sibling rivalry. Haunted by the past, the brothers are forced to confront the reality of their future. schovat popis
The playwright who "has burst through every known convention to invent a new theatrical language, like a jive Samuel Beckett, while exploding American cultural myths and stereotypes along the way [John Heilpern, New York Observer and Vogue]," has written two haunting riffs on Hawthorne’s The Scarlett Letter: In the Blood and Fucking A.Hester La Negrita of In the Blood is an unapologetic mother of five illegitimate children—"my treasures, my five joys"—who practices writing the alphabet to help herself "one day get a leg up. The letter A is as far as she gets. Hester Smith of Fucking A works the only job available—abortionist to the lower class, in order to save for a reunion picnic with her imprisoned son. Her branded A bleeds afresh every time a patient comes to see her.These are two mature, beautifully crafted, inventive and poetic plays by one of the most unique voices writing for the stage today.
A darkly comic fable of brotherly love and family identity, tells the story of two brothers, Lincoln and Booth, names given to them as a joke by their father. Haunted by the past and their obsession with the street con game, three-card monte, the brothers come to learn the true nature of their history
Suzan-Lori Parks continues her examination of black people in history and stage through the life of the so-called "Hottentot Venus," an African woman displayed semi-nude throughout Europe due to her extraordinary physiognomy; in particular, her enormous buttocks. She was befriended, bought and bedded by a doctor who advanced his scientific career through his anatomical measurements of her after her premature death.
The debut novel from Pulitzer Prize-winning playwright Suzan-Lori Parks is a gutsy, funny, tragic and completely original work for fans of William Faulkner and Alice Walker.In the 1950s, in a small southern town in the US, the Beedes are the lowest of the low. Always struggling, they remain shackled by poverty and their own lack of ambition. Everyone, but sixteen-year-old Billie Beede.Billy Beede has big ideas about her life. She's had the Beede misfortune to get pregnant by an itinerant coffin salesman. And when he proves to have a wife and seven kids in another town, she determines to try her luck elsewhere. The answer seems to be in the hem of her mother's dress, her mother who died ten years ago. The rumour is that Willa Mae a Billie Holiday look-alike was the only Beede who made good, and was buried with a pearl necklace and a diamond ring sewn into the hem of her dress.Billie and all her relatives aim to get their hands on this treasure and make something of themselves. What follows is a mad road trip that evokes shades of Faulkner in its potent earthiness but also has the approachability and warmth of novels like The Colour Purple. This is a fantastic debut novel from an accomplished and well-loved American playwright.
Fucking A is an otherworldly tale involving a noble mother, her wayward son and others. Hester Smith, the revered and reviled local abortionist, hatches a plan to buy her jailed son's freedom-and nothing will deter Hester from her quest. In this violent and wild-eyed blend of story and song, which harkens to Brechtian and Jacobean structure, Hester's branded letter A becomes a provocative emblem of vengeance, violence and sacrifice."Critics' Pick! Timeless and enduringly relevant. As harrowing as it is witty!" - Ben Brantley, The New York Times"Four stars! Like Hester's bloodily branded A, the play leaves an indelible mark." - Raven Snook, Time Out New York"A fiery, raw-throated shout in the face of hypocrisy, privilege and injustice." - Sara Holdren, New York Magazine"An expressionistic and politically charged exploration of class, family and violence, studded with jarring bursts of humor and song." - Raven Snook, Time Out New York
Exploring archetypes of Black America, the narrative features a woman attempting to feed her husband a fried drumstick amidst a world where dragons roam a flat earth. The story delves into themes of memory and language, presenting the last Black man who experiences repeated deaths. With a blend of piercing insight and raucous comedy, this theatrical work vibrates with the essence of improvisational jazz, creating a unique and dynamic experience.