Download All in the Timing: Fourteen Plays by David Ives PDF

By David Ives

The realm in keeping with David Ives is a really upload position, and his performs represent a digital pressure attempt of the English language -- and of the audience's potential for disorientation and pleasure. Ives's characters plunge into black holes referred to as "Philadelphias," the place the best wants are hilariously thwarted. Chimps named Milton, fast, and Kafka are locked in a room and made to re-create Hamlet. And a con guy peddles classes in a doubtful language within which "hello" interprets as "velcro" and "fraud" comes out as "freud."

At as soon as mesmerizing and confusing, incisively clever and side-splittingly humorous, this unique paperback variation of Ives's performs comprises "Sure Thing," "Words, phrases, Words," "The common Language," "Variations at the demise of Trotsky," "The Philadelphia," "Long in the past and much Away," "Foreplay, or The artwork of the Fugue," "Seven Menus," "Mere Mortals," "English Made Simple," "A Singular Kinda Guy," "Speed-the-Play," "Ancient History," and "Philip Glass Buys a Loaf of Bread."

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Extra info for All in the Timing: Fourteen Plays

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Radio programming recycled the conventions of newspaper reporting, realist theatrical representation, musical concert programming, and filmic montage. Nonetheless, radiophony altered even as it replicated past cultural practices. The news, music, and drama might have had the ring of familiarity on the new medium, but radio put these old formats in a new space, both more abstract and more intimate than any before it. As communications historian Richard Butsch notes, “[By 1940] no longer did the announcer enter the listener’s home.

As Lakoff and Johnson understand, the world pushes back against human perceptions; consequently, the minds of audience members, shaped by evolution, the experience of living on earth, and historical culture, will tend to take welltraveled routes of cognition to gain comprehension. Faced with certain kinds of stimuli, the cognitive unconscious tends to click onto “containment” rather than another primary metaphor to make sense of what is perceived. Since this happens at the unconscious level, there can be no hard evidence of its occurrence.

Although Lakoff and Johnson do not comment directly on this analytical separation, their discussion of the errors of “disembodied scientific realism” is relevant to it. 28 Restated in theatrical terms, the “response” of the audience was never separated or divorced from the “reality” on stage. Consequently, humans can gain no objective understanding about the formal properties of theatrical objects on the stage or about a separable, discrete response to them from members of the audience. The relationship connecting spectators to the stage and events on the stage to the spectators must be understood as a single phenomenon.

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