#Playwright: Yasmina Reza

[pers-books]

[Freema Agyeman. Photographer: Joseph Sinclair]

By Steven McIntosh

Entertainment reporter

Doctor Who star Freema Agyeman will appear in a new stage production of the Tony and Olivier-winning dark comedy God of Carnage.

The actress is best known for her role as the companion Martha Jones in Doctor Who and recently starred opposite Lily Allen in TV comedy Dreamland.

She will play Veronique Vallon in the revival of Yasmina Reza's play at the Lyric Hammersmith theatre in September.

Agyeman told BBC News she was "beyond thrilled" to be returning to the stage.

God of Carnage tells the story of two sets of parents, who meet up after one 11-year-old knocks out his classmate's two front teeth in a playground fight.

The boys' parents meet up to have a civil conversation about their children's altercation in a supposedly calm and rational way. But chaos ensues as the parents themselves descend into tantrums, name-calling and tears.

Agyeman said: "I'm happy to be staying in the genre of dark comedy post Dreamland - God of Carnage made me gasp and guffaw in equal measure.

"I look forward to performing in this play alongside the fantastic cast and am very excited to be working with director Nicholai La Barrie whose enthusiasm is infectious!"

Reza's play was translated for English-speaking audiences by Christopher Hampton, who won an Oscar in 2021 for best adapted screenplay for The Father.

God of Carnage premiered in the West End in 2008 before transferring to Broadway the following year.

The play went on to win both the Tony and Olivier Award for best comedy, as well as additional Tonys for best play and best actress for Marcia Gay Harden.

Agyeman's screen credits include Torchwood, Silent Witness, Law and Order and The Carrie Diaries, as well as the most recent film in the Matrix franchise, Resurrections.

She will appear alongside Ariyon Bakare, Dinita Gohil and Martin Hutson in the Hammersmith production of God of Carnage, which runs from 1 to 30 September.

Agyeman said the Lyric had an "incredible history and tradition" and praised its "consistently solid, inclusive and high-calibre work".

Director Nicholai La Barrie said: "God of Carnage pokes fun at wealth, power and money. It lifts the lid on civility which is immensely funny to watch. From the moment I read this play, I imagined it to be a reflection of the cosmopolitan cities that we live in."

In a review of a 2018 revival of the play in Bath, the Guardian's Arifa Akbar recalled how the show's 2009 run in the West End "put in just enough laughs, balanced with middle-class menace and marital rage, for the play to earn its reputation as a savage comedy that tears away the veneer of respectability in modern bourgeois lives to expose the bigotry, anger and predations that lie beneath".

Prior to God of Carnage, writer Reza made her name with the the 1994 play Art, which also won a string of Olivier and Tony Awards.

[emylilas]

I know Love Actually is a Christmas romcom but my fics are never ready on time (the Easter chocolate hunt fic is staring at me in my WIP files).

Now, the real question is, should I write this 👇?  I did spend way too long writing that plot that was supposed to be short.

Vincent is a stage actor. The company he’s in will be playing God of Carnage, from the French playwright Yasmina Reza. This play presents two couples seemingly politely discussing the fact that one of the sons hit the other. Vincent is one of the fathers and Adriel plays the other one. Unlike Vincent, Adriel has made his career in Hollywood, he is well-known and well-loved by the public. Adriel’s ego makes him insufferable for everyone in the company but that’s not why Vincent is having such a hard time working with him. No. They have history together, and Vincent hasn’t forgotten that. 

Beatrice, the play director ー said to be one of the most promising directors of her generation ー is trying her best to ease the tensions between her two male leads because the words have gotten out that movie-star Adriel and his co-star could not stand each other. She doesn’t want that kind of press for her play. Ava, working at the opening, lets her know whenever journalists are trying to get information. 

Ava dreams of being a movie star. Waiting for an opportunity to present itself, she shares an apartment with her older sister, Shannon, and Shannon’s friend, Lilith. 

Shannon has graduated with a journalism degree and is now struggling with her debuts. As for Lilith, she works in a small flower shop. 

SEPTEMBER, 29th. That’s where she meets Camila, a student in computer science who likes to do random good things for people and who has decided, that day, to pick flowers for people in the nearest hospital. Shannon, passing by the shop to drop Lilith’s keys she forgot in the morning, sees Camila struggling with the many bouquets she has ー she offers to help her.

Mary works in this hospital as a nurse in oncology. Her patients find Camila’s initiative lovely. As a public hospital underfunded, nurses and doctors are overworked, there aren’t enough beds, patients must sometimes be left waiting in the hallways and wait for hours before someone can come check on them. It’s a shock for Shannon, because she can tell it’s not a lack of care from the staff, it’s a fault in the system.

Shannon wants to do something. She asks Mary what she thinks of the possibility of Shannon writing an article about the current situation in collaboration with nurses and clinicians. She doesn’t want sensationalism, she wants to raise awareness and point fingers where the fault lies. Mary is reluctant at first but eventually notices Shannon only means well. She suggests she talks to upper directions.

Mary’s best friend is Suzanne, a teacher, who’s Vincent’s little sister. Between her clumsy enthusiastic assistant, Yasmine, who means well but requires a lot of her time, her kind yet exhausting pupils and her brother’s awful mood because of Adriel, Suzanne has been begging Mary for a weekend away, just the two of them, to flee the stress of her everyday life. This little getaway would also be a great opportunity for Suzanne to set Mary on a date with a perfect stranger, since Mary has rejected anyone Suzanne knows.

OCTOBER, 15th. Tonight is the opening night and it couldn’t possibly be worse. Vincent and Adriel aren’t talking to each other, they refuse to get out of their respective lodge for the finale rehearsal and Beatrice has no other choice than to call their respective agents. She regrets her decision the moment she realises Francesco Duretti, Vincent’s agent from O.C.S, and Jillian Salvius, Adriel’s agent from F.B.C, are sworn enemies in their own business, constantly trying to steal each other’s actors. Despite their mutual contempt, they need to get the two actors back on stage before tonight, which won’t be easy considering Adriel won’t talk to Jillian and Vincent is ignoring Francesco’s calls.

Ava is the one who suggests to Jillian that she tries talking to Vincent’s sister because she’s the only one who scares him enough to get him to do anything. Ava has overheard Suzanne mention her students once, but she’s not sure which school it is, just that it’s nearby. Jillian visits three schools before finding the right one. Suzanne finds it weird, yet not completely not funny, to know that this stranger has been looking for the most part of her afternoon so she agrees to talk to her brother. Vincent eventually agrees to come out of his lodge and if Adriel doesn’t want any bad press, he has to play along.

The opening night goes smoothly, as opposed to the entire day. Everyone is in the room. Yasmine came with her roommate Camila who came with Lilith who herself came with Ava and Shannon. Mary came with Suzanne. Jillian and Francesco are there to make sure their actors won’t try running away during intermission. Everyone gets to stay for the After Party, Beatrice lets Ava know her friends are more than welcome.

Suzanne gets to meet Shannon and she quickly notices her interest in Mary that has grown while the two of them were working together for the article. And Suzanne has heard a lot about Shannon from her friend. She just needs to get Mary to be brave enough to ask Shannon on a date. 

Yasmine, Camila and Lilith hang out together, they like staying near the buffet and try to guess people’s most embarrassing secrets.

Ava gets the courage to tell Beatrice that she inspires her. Beatrice could faint but eventually confesses to her that she kept her distance because she was scared Ava’s attempt at getting closer only was to get a first role somewhere. It hurts Ava that Beatrice would think something like that but she understands it must have happened before for it to be such a strong fear. She promises she has no secret interests behind her willingness to get to know Beatrice better.

Jillian manages to steal Suzanne from her brother, Francesco and their friends for a few minutes. She thanks her again for allowing the situation to go back to normal. Suzanne is reluctant to talk to the agent, Francesco has warned her about Jillian Salvius’ questionable methods. Jillian ensures her that her brother is not the one she’s interested in. She tells Suzanne that if she ever gets bored of the five men she seems to be destined to spend her evening with, she can come find her later. Later that night, Suzanne gets a text from an unknown number:

“You didn’t come.” “How did you get my number?” “Questionable methods ;)” “You had already left.”

Jillian actually asked Ava if she could ask Suzanne’s number to Vincent. Ava instead asked her sister to ask Mary. Jillian had left the party in a hurry after a call from her babysitter informing her that her son, Michael, was running a fever. Her 8 years old only recently recovered from leukaemia. His first nurse when he was 4 was Mary.

NOVEMBER, 2nd. Taking a walk in the city with Suzanne, Mary recognises Jillian and Michael in a park. She tells Suzanne she needs to say hi. That’s how Suzanne meets Michael for the first time and how Mary understands Jillian is the woman Suzanne has been talking to since the opening night without ever agreeing to meet her on a proper date. Michael tells Mary that, for Halloween, he was dressed as Dr Noru, the scary chief of oncology. Mary laughs, because Dr Noru was indeed terrifying. Later that day, Mary offers Suzanne a deal: if she goes on a date with Jillian, she’ll ask Shannon out. It’s a deal.

NOVEMBER, 10th. Ava knows it’s Beatrice’s birthday. She asks Lilith and Shannon to disappear for the night so she can have their place. She cooks, bakes, and decorates the room for Beatrice. She buys her flowers, the English tea that Ava has noticed Beatrice had run out of, and she has collected all positive reviews about the play and specifically Beatrice as a director in a journal that she’ll give to her. She knows Beatrice doesn’t have plans so she calls her and asks her to come over because she has some very important news to share with her. Beatrice is grumpy when she shows up, thinking Ava is going to tell her she was offered her first role and would soon have to leave. She bursts into tears when she realises what Ava has done for her. It turns out Ava is a great baker but a terrible cook. They end up ordering food and spend the entire evening talking. Ava asks if Beatrice wants to stay over. They fall asleep in Ava’s room, watching a movie together.

In the meantime, Lilith is enjoying board game night at Yasmine and Camila’s. They have invited their friends Hans, Todd and Chanel to join them and Lilith really enjoys Chanel’s company. 

Shannon has asked Mary if she was free tonight because her sister was kicking her out of home. Mary’s shift supposedly ended at 8pm. It’s 10 when she finally gets out. She’s too tired to go anywhere and Shannon offers to just make them both dinner and then let Mary sleep. Mary tells her she can stay. Shannon is shy and doesn’t want to cross any boundaries so when Mary is asleep, she leaves a note on the kitchen counter and goes back home where she finds burnt cannelloni in the shrink.

DECEMBER, 14th. Suzanne’s class goes to visit the Science Museum with another class that turns out to be Michael’s class. He’s happy to see her, she’s been at his home a few times lately but has never stayed long. He spends the whole visit holding her hand. When it’s time for parents to come pick their children, Michael’s teacher complains that Jillian is late again. Suzanne tells her to go, she’ll bring Michael home, she knows his mother. When Jillian opens the door, she’s paler than usual and she’s slightly shaking. Food poisoning, she explains to Suzanne. There’s no risk for Michael to catch it so they should be fine. She thanks Suzanne for bringing him home. Suzanne doesn’t leave her a choice and walks in. She helps Michael with her homework, makes Jillian rest on the couch with a bucket on the ground for emergencies and busies herself with making something for dinner that Jillian’s stomach might not immediately reject.

DECEMBER, 20th. Love actually is a Christmas movie so it’s Christmas!

It’s the last day the theatre is open for the season and the last representation of Gods of carnage tonight. They’re having a little Christmas party after. It’s just them, it’s nothing much but Ava insisted they did a Secret Santa this year with the possibility of only giving something homemade. After the party, Ava asks Beatrice what she’s going to do for Christmas. Beatrice won’t fly home. There’s nothing stopping her from accepting Ava’s invitation to come celebrate Christmas Eve and Christmas and Post Christmas with her, her sister and their friends. Neither Ava or Beatrice are very certain of what they are to each other. Both hope.

Lilith invited Camila and Yasmine and told them to bring Hans, Todd and Chanel if they had nothing better to do. Todd will spend the holidays with his family but Hans won’t go back to Switzerland and Chanel has lost contact with her family, they’re delighted to have this Christmas time with their friends. Shannon and Ava can’t stop teasing Lilith at how delighted she is to learn that Chanel will be here.

Shannon knows Mary will be working on Christmas and asks if it’s okay if she comes to the hospital to spend time with her during her breaks. She could bake Christmas cookies for the patients and the staff. Mary tells her that will make a lot of Christmas cookies. Shannon spends the whole day baking to make sure there are enough for everyone.

It’s the last day of school and when Suzanne hands the last kid to his parents and tells them to enjoy the holidays, she notices Yasmine coming back with Michael’s hand glued to hers. “He was looking for you.” Michael wants Suzanne to spend Christmas with them. Disclosed reason: she needs to save them from Jillian’s cooking. Secret reason: he saw mistletoe at the flower shop near their house and is planning to buy some for his mum and her friend who should really be her girlfriend instead. Suzanne calls Jillian to make sure she doesn’t go into cardiac arrest when Michael’s teacher tells her he’s already left. Suzanne drops him home and before she leaves, Jillian shyly asks what her plans for the holidays are.

CHRISTMAS filled with Christmas activities (hot chocolate, gingerbread houses, decorating a tree, Christmas cooking, Christmas movies, board games, ice skiing, snowball fight, building a snowman, cuddling by the fireplace, kissing under the mistletoe, last minute Christmas shopping…)

SO, should I write this?

[monologuers]

Monologue From: God of Carnage

MICHAEL. Yes. This hamster makes the most godawful racket all night, then spends the whole day fast asleep! Henry was in a lot of pain last night; he was being driven crazy by the noise that the hamster was making. And, to tell you the truth, I've been wanting to get rid of it for a long time, so I said to myself, OK, that's it, I took it and put it in the street. I thought they loved drains and gutters and all that, but I guess not, it just sat there paralyzed on the sidewalk. Well, they're not domestic animals, they're not wild animals, I don't really know where their natural habitat is. Dump them in the woods, they're probably just as unhappy, so I don't know where you're supposed to put them.

[gilraenanarion92]

YVAN: I can no longer bear any kind of rational argument, nothing formative in the world, nothing great or beautiful in the world has ever been born of rational argument.

ART - Yasmina Reza

[larryland]

Review: "The Unexpected Man" arrives at Shakespeare & Company

Review: “The Unexpected Man” arrives at Shakespeare & Company

Corinna May as The Woman . Photo by Enrico Spada. From Frankfurt to Paris with “The Unexpected Man” by Yasmina Reza Theatre Review by Gail M. Burns A man and a woman share their thoughts with us in extended monologues as they share a compartment aboard a train traveling from Paris to Frankfurt. Only occasionally do they connect with each other. She knows exactly who he is – Paul Parsky, the…

[pirunika]

AND now i bought 2 tickets for God of Carnage... living internationally fr

I'm seeing the play The Prisoner of Second Avenue 😌

[aarlone]

A Podcast... About Plays

So my partner and I have been doing a podcast about plays that folks might not have heard of, or ones that are a little weird. We talk about production requirements and go through the plot, scene-by-scene. It’s called The Play Readers, and here are some of my favorite episodes that we’ve done:

R.U.R (Rossum’s Universal Robots) by Karel Čapek (Spotify link). RUR is what brought the word robot to the English lexicon! There are a number of English translations available, and they are all wild. Not only is this the first play about robots, it’s the first play about the robot uprising!

The Scarecrow by Percy MacKaye (Google Podcasts link). This play was inspired by a William Hawthorne short story, Feathertop, about a witch who conspires with the devil to get revenge on a man who wronged her 20 years ago - and that's just the first scene. This is another fascinating play that was a blast to talk about.

 Life x 3 by Yasmina Reza (Apple Podcasts link). One of the most modern plays we've talked about, Life x 3 takes the audience through three different versions of an evening - in each scene, there are small/changes in circumstance which naturally result in the events playing out with significant differences. Yasmina Reza is a French playwright who is well-known for several of her other plays (God of Carnage might come to mind).

[jamieroxx]

Happy Birthday. Today, May 1, – Yasmina Reza, French actress and playwright was born. (https://en.wikipedia.org/wiki/Yasmina_Reza)

[petnews2day]

UA director sees ‘God of Carnage’ as world metaphor

New Post has been published on https://petnews2day.com/pet-news/small-pet-news/ua-director-sees-god-of-carnage-as-world-metaphor/

UA director sees ‘God of Carnage’ as world metaphor

In Yasmina Reza’s “God of Carnage,” winner of the 2009 Tony Award for Best Play, a playground altercation between 11-year-old boys brings together two sets of Brooklyn parents for a meeting to resolve the matter. At first, diplomatic niceties are observed, as Dramatists Play Service puts it, “but as the meeting progresses, and the rum flows, tensions emerge, and the gloves come off, leaving the couples with more than just their liberal principles in tatters.”

The comedy takes the University Theatre stage Nov. 11 for six performances under the direction of Huan Bui, an M.F.A. directing candidate. Originally from Vietnam, he had “five years of making theater before getting here to pursue my intense training on theater directing. To me, theater is such a beautiful and powerful language. Every live moment happening on stage is magical, yet fleeting, and it’s such a great exhilaration to witness those moments just for once.”

Here, Huan Bui answers three questions for What’s Up!

Q. Was “God of Carnage” your choice? If so, why?

A. It was one of my choices that I proposed for my thesis shows. My previous productions here were all dramatic and dark plays, so I really wanted to try myself with a comedy for my last show. “God of Carnage” just struck me how funny it is, but moreover I love different nuances of laughter that this show can bring to the audience. The playwright, Yasmina Reza, called her plays “funny tragedy,” which is also quite close to what we know about satire, a genre of comedy, where the “tragedy” value can also be involved in the laughter. For “God of Carnage,” there can be a bunch of things to contemplate after laughing, because we may realize that laughing at what happens in the story is also laughing at ourselves.

Q. How does this play challenge the actors working in it? What are they learning about themselves and about theater?

A. In this nearly 90-minute play, there is so much going on. The complexity in the language of the play really challenges me, from politics, religion, marriage, parenting skills, gender ideology, to the story of the hamster. It’s struggling to decode all those languages and make it woven with the characters’ values, but it also gives way to a lot of fun and comic moments to take place in this serious content.

Q. What do you hope audiences are talking about as they leave the play? Is there a message you hope to convey?

A. The time that I worked on script analysis for this play, the Russia-Ukraine war happened in the other part of the world. It struck me immediately how the reality of the world is so relevant to what’s written in the play.

The playwright wants to display a whole drama of human behavior in a contemporary context. She puts everything in this script between the thin line of civilization and savagery, and I hope the audience can also see themselves sometimes struggle to balance on this line. I wonder, is this also what is happening in the world right now? In the middle of the 21st century, among the civilized societies that we have been trying to maintain and develop, people are still ready to execute each other by tanks and bombs and guns. The situation between the two pairs of parents in this play is somehow nothing different from what is taking place out there with two organizations, two communities, or two countries. At the end, it occurs right inside of every individual, this game, this battle — the fight between civilization and savagery, the fight between ourselves with the “God of Carnage.”

FAQ

‘God of Carnage’

WHEN — 7:30 p.m. Nov. 11; 2 p.m. Nov. 13; 7:30 p.m. Nov. 16-18; 2 p.m. Nov. 20

WHERE — University Theatre on the University of Arkansas campus in Fayetteville

COST — $5-$20

INFO — uark.universitytickets.com

[elizadoolittlethings]

Yasmina Reza's play ART was first produced in Paris, at the Comédie des Champs Elysées, in 1994. There, Sean Connery saw it, on his wife's advice, and liked it so much that he decided to back an English-language production. He and co-producer David Pugh asked the renowned playwright Christopher Hampton to translate the script. The production opened at Wyndham's Theatre in 1996. It was a huge success and on its playwright, Yasmina Reza, an Olivier award and an Evening Standard award for Best Comedy. A couple of years later, the production had its 27th and last cast until January, 4 th 2003.

For years I always thought about going to see Art myself, but always chose another play instead. Now I had two good reasons to go to London in December 2002 to do so. FIRST: The play was only running until January, 4 th 2003 and SECOND: with THAT cast I had no other chance as to go, since I am a huge fan.

Here's the story in a nutshell:

Serge (Mark Gatiss) buys a drawing for 200,000 Francs, which he regards as a masterpiece

Whereas his long lasting friend Marc (Steve Pemberton) tells him bluntly what he's thinking of the drawing, Yvan (Reece Shearsmith) tries to use a kindly way. The whole thing escalates when Yvan arrives late when the friends were about to go to the pictures. Before anyone was able to say one word, Yvan tells them the whole dilemma (a rather amazing scene where Reece talks for a very long time without so much of a break and you get the idea, that he isn't even breathing then). More and more the friends getting crossed, until it ends in palpability. It was then when they realised that it's no uses arguing over a drawing and become reconciled.

source: Maggi

[monologuers]

Monologue From: God of Carnage

ALAN. Madam, our son is a savage. To hope for any kind of spontaneous repentance would be fanciful. Right, I'm sorry, I have to get back to the office. You stay, Annette, you'll tell me what you've decided, I'm no use whichever way you cut it. Women always think you need a man, you need a father, as if they'd be any help at all. Men are a dead weight, they're clumsy and maladjusted, oh, you can see the F train, that's great!

[thirsty-flygirl]

I appreciate the spirit of this post, and there are definitely some diversity issues in lighting, sound, and other technical fields. However, there are a number of incredible female playwrights out there, and to dismiss them is a disservice to their incredible work. Suzan Lori Parks, Lynn Nottage, Paula Vogel, Caryl Churchill, and so many more are still doing incredible things. Aphra Behn, perhaps the female playwright's patron saint, set us forth on a magical journey in the 17th century. Wendy Wasserstein, whose plays are some of my all-time favorites, is another stellar playwright who tackled serious themes applicable to women around the world. Yasmina Reza's God of Carnage is one of the most potent satires on the ridiculousness of the American marriage and family life that I've ever had the pleasure of working on

What I'm saying is yes, be indignant of all the silenced voices, and be aware that so many technicians are still being overshadowed by their male peers, but let's also celebrate the incredible contributions women have made to the landscape of world theatre.

one thing that has always bothered me about theatre, and broadway especially, is that ever since i was little theatre has always been “a girl’s things”. it’s shown as girly and young boys who are interested in theatre are assumed to be gay or are made fun of. and yet, in major theatre productions, you hardly ever see women. women aren’t known producers, they aren’t recognized playwrights and composers, and plays- mostly musicals- hardly ever have more than two female characters in the spotlight. it’s yet another “girl’s thing” that’s dominated by men.

[penslipsmagazine]

8 Must-Read Yasmina Reza Plays and Novels

8 Must-Read Yasmina Reza Plays and Novels

Crafting deep meaning behind simple words, Yasmina Reza is a phenomenal French playwright, screenwriter, and novelist. She is widely recognized for her satirical plays and novels that narrate the struggles and anxieties of the modern middle-class. Reza was born to Jewish parents who immigrated to France. Writing and acting has always been her top interests. So, it’s no surprise, she started her…

[stefankarlfanblog]

A fun study of the complexity of humans

Article written for Lesbók Morgunblaðsins on the 28th of September 2002, photographs by Sverrir Vilhelmsson: https://timarit.is/page/3522438?iabr=on#page/n12/mode/1up

What would my life have been like if ... Of course, everyone asks themselves at some point what would have happened if you had done things differently - reacted to situations in a different way than you did; - behave like this but not in a different way; - see things in a different light than you did; would not have let the emotions play with you in the way it did. These questions are the subject of a new play, Life x3, by Yasmina Reza, which premiered on the big stage of the National Theater last night. There are four actors, Ólafía Hrönn Jónsdóttir, Sigurður Sigurjónsson, Stefán Karl Stefánsson and Steinunn Ólína Þorsteinsdóttir, and the director is Viðar Eggertsson.

The play is about two astrophysicists, Henri and his boss, Hubert and their wives, the lawyer Sonia and Inès, who "does nothing, which is, a lot already." Henri and Sonia are expecting Hubert and Inès for dinner, where they will discuss Henri's possible promotion and an article he has just completed about research into the galaxy's, - and now they have arrived, Hubert and Inès, a day earlier than expected. , - and there's nothing in the fridge!

Surely we will never be able to repeat our lives; - yes, except in the theater.

I think cocoa puffs are great! Sigurður Sigurjónsson, Hubert, and Steinunn Ólína Þorsteinsdóttir, Sonia.

"The special thing about the work is that our knowledge after the first episode supports and multiplies our experience of the second episode," says director Viðar Eggertsson. "The spectrum of people will be even greater. And after the first and second episodes, we have a lot more knowledge about them than they give out, and we know more about how they feel after getting to know them through the first two episodes. The author plays with the same characters in the same situation, but then shifts the emphasis in their reactions and emotional life towards what is happening.

The result may be the same in the end, but we learn about the different reactions of the people in each episode; - depending on the day, - or just the way people get out of bed that day. Gradually, a holier and more complex picture of the people is created. This has been a very fun studio for those of us who have been working on it, and hopefully also for those who see the show. "

The form of the repetitions

Viðar says that in both literature and filmmaking, this form, repetition, has been popular recently, and it is worth mentioning films such as Sliding Doors, where a person lives two kinds of life after a certain event in his life. "I think the author, Yasmina Reza, does this in her own special way by moving a little bit about the sequence of events, but instead looking at the person and their different reactions in the same sequence of events."

"What does it matter to us here and now that the galaxy's covers are flat?" Stefán Karl Stefánsson, Henri, and Ólafía Hrönn Jónsdóttir, Inès.

Life Three Times is the latest play by Yasmina Reza, one of the most popular playwrights of our time. The play premiered in Vienna, Paris and Athens in the autumn of 2000 and has been shown with great popularity throughout Europe. Yasmina Reza's plays have been translated into almost forty languages and shown in theaters around the world. Her first play, Conversations After a Burial, won the French prestigious Molière Prize in 1987. The work, which was shown at the National Theater in 1997, won one of the Molière Prizes and also brought the author world fame.

Yasmina Reza is an actor by education, and worked in acting until she began composing plays in the mid-1980s. She is also educated in music, and her parents were both musicians. According to her in the play, Life x3 has come close to a piece of music in form. She says that the play is structured like Bach's composition, The Art of the Fugue: Four Voices, one theme that is repeated many times in different ways, with rapid changes of rhythm.

"By the way, I read it on astro dot com this morning…" Sigurður Sigurjónsson in the role of Huberts.

LIFE X3 by Yasmina Reza

Translator: Kristján Þórður Hrafnsson

Director: Viðar Eggertsson

Actors: Ólafía Hrönn Jónsdóttir, Sigurður Sigurjónsson, Stefán Karl Stefánsson and Steinunn Ólína Þorsteinsdóttir

Lighting: Páll Ragnarsson

Set and costumes: Snorri Freyr Hilmarsson

[rubyraespigel]

30 young female playwrights. Ruby’s contemporaries.

Laura Shamashttps://theatrenerds.com/30-female-playwrights-you-should-know/#:~:text=%2030%20Female%20Playwrights%20You%20Should%20Know%20,about%20a%20high%20school%20girls%E2%80%99%20soccer...%20More

1. Annie Baker 

2. Lisa D’amour 

3. Sarah DeLapp

4. Margaret Edson 

5. Liz Flahive

6. Amy Freed

7. Madeleine George

8. Rebecca Gilman

9. Gina Gionfriddo

10. DW Gregory

11. Danai Gurira

12. Leslye Headland

13. Amy Herzog

14. Quiara Alegría Hudes

15. Lucy Kirkwood

16. Young Jean Lee

17. Jennifer Maisel

18. Martyna Majok

19. Lynn Nottage

20. Antoinette Nwandu

21. Suzan-Lori Parks

22. Theresa Rebeck

23. Yasmina Reza

24. Sarah Ruhl

25. Laura Shamas

26. Lisa B. Thompson

27. Lucy Thurber

28. Joyce Van Dyke

29. Paula Vogel

30. Anne Washburn

[unpopularopinioncraig]

They are actually really fun. I took a couple of playwrighting classes in college. Make sure to look up resources on formatting too.

-For anyone that is actually interested, I used to practice acting as the characters when I would write plays. By talking out loud you help cultivate how characters actually talk. What they would and wouldn’t say, and how they would say it. This way your characters don’t sound like the same people, repackaged.

-Make sure your characters are doing something. It’s different from a novel. The stage directions contain actions that the audience will never hear. They will SEE it. When they’re tired and throw there hands up, include it. When the set something down hard, include it. Make sure the actors KNOW what is going on.

-When starting out, it’s good to keep the setting in one place. A house, a neighborhood, a bar. Plays focus on the character conflict. It’s useful to put these characters in a box and make all the conflict spill out.

-When writing, time your silences. A minute is a long time for actors to not do anything ESPECIALLY if they’re in the middle of a conversation or argument. If it feels too long for you, it probably is. Try 5-7 seconds.

-Read. Read. Read. You’ll want to read plays. Not just that old dusty copy of Shakespeare’s Hamlet you have. Read a lot. A Streetcar Named Desire by Tennessee Williams. Three Days of Rain by Richard Greenberg. Who’s Afraid if Virgina Woolf? by Edward Albee. Those are great plays to start. God of Carange by Yasmina Reza too.

-Give your characters objectives. They don’t exist just to oppose the protag/antag. They want something out of life. What do they want? Why do they want it? What are they willing to do to get it? We all want something real bad.

-And finally, good people do bad things. Bad people do good things. Make sure your characters aren’t one sided. What does the antagonist do that makes him more sympathetic? What does the protagonist do that makes him less perfect and more human? We all live in one gray area. Write about it!

And lastly, have fun! Try and pace yourself at the begging too. In college I would aim for five new pages a day. This helped me see progress but avoid burnout. I found that sometimes I wasn’t in the mood. Sometimes the writing wasn’t good. But it’s okay! You can go in and change it later! Just put words on a page! Happy writing.

Reasons to Write a Play

If you’re an author, you should write a play. Even if your genre is high fantasy novels, even if your genre is romance novellas, even if your genre is poetry, even if you don’t watch theatre often, you should write a play.

Why?

1. It’s a completely different medium for storytelling that still puts your writing skills to use.

2. It’s an incredibly helpful exercise in show-don’t-tell. Like seriously. Wow.

3. A new way to write characters. You can’t shoehorn in extensive physical descriptions most of the time, so you have to resort to defining them by their actions and words. Again, see point 2.

4. You’re creating a piece of performance art without even getting up off the couch? Woah??

5. It’s so gratifying to watch it performed, or even just read, if you can. Like oh wow.

6. Lots of stuff that you never think you’ll need or use again outside of playwriting follows you back into your prose work.

7. The world needs more plays that aren’t just adaptations of Disney movies or 80′s jukebox cash grabs trying to ride the coattails of Heathers. Seriously.

8. It’s fun.

9. Like, really fun.

10. For real, I have never finished a writing project more quickly or with less burnout.