#woman playwright

[gilraenanarion92]

I choose whether or not I want to conform to unrealistic beauty ideals perpetuated by the media.

Fucking Feminist - Rose Lewenstein

[orionchildofhades]

Andrew Minyard, Literature Major ("Hell hath no fury" , "Jean Valjean") getting a PhD just to piss off Aaron so they're both Dr. Minyard is just--

[yourdailyqueer]

Renata Carvalho

Gender: Transgender woman (travesti)

Sexuality: Queer

DOB: Born 1981

Ethnicity: Brazilian

Occupation: Actress, playwright, theater director, sex worker, activist

[leonardcohenofficial]

think i've finalized my syllabus for next quarter for the early modern class and both the rover and tartuffe are nowhere in sight love this for me <3

[importantwomensbirthdays]

Paula Vogel

Paula Vogel was born in 1951 in Washington, DC. Vogel won the 1998 Pulitzer Prize in Drama for her play How I Learned to Drive. She later won a Tony Award for her play Indecent. Vogel's plays explore subjects such as AIDS, domestic violence, LGBT rights, and censorship. She has won the American Academy of Arts and Letters Award in Literature, and an lifetime achievement award from the Obies. In 2015, Vogel was inducted into the American Theater Hall of Fame.

[mariocki]

cutest iasip interview ever

[ohthestoryteller]

rough draft of a new show <3

[fatespalm]

solemn vow to never be complacent or meek around things i feel strongly about again — to at least start the conversation even if i don’t have the words to talk back exactly to a poisonous idea — in kind, to pick up the thread if someone else does the same — tired of letting evil shit unfold —

[ariesloona]

my mind going “blah blah blah proper name place name” when listening to this beautiful and intelligent woman speak except my job is literally translating what she’s saying. very unfortunate.

[droughtofapathy]

Second Stage announced its fall lineup and, hm...

On one hand, this means we get a fairly sizable cast, and I do like that. And I'm generally a fan of big messy family dramas, but the contemporary takes on this concept have been so uninteresting as of late. This play seems way too similar to last season's Appropriate, and I hated that. It was trying to be August: Osage County, and just didn't do it for me. What about this play is different? What could this playwright bring to the table that hasn't been served before?

[tenth-sentence]

The playwrights made their heroine a single woman and though dressed in men's clothes she was chaste.

"Normal Women: 900 Years of Making History" - Philippa Gregory

[lenbryant]

Someone asked what’s your favorite one-person show, and this is always my pick, hands-down.

[tllgrrl]

@btwxsixesandsevens

Words fail.

DANAI GURIRA || THE CUT

[zomb1eturtlez]

"At the risk of stating the obvious, no woman can mate with a bull and produce a child. Recognizing this simple scientific fact, I am led to a somewhat interesting suspicion: King Minos did not build the labyrinth to imprison a monster but to conceal a deformed child, his child.

While the Minotaur has often been depicted as a creature with the body of a bull but the torso of a man, centaur-like, the myth describes the minotaur as simply having the head of a bull and the body of a man, or in other words, a man with a deformed face. I believe pride would not allow Minos to accept that the heir to the throne had a horrendous appearance.

Consequently, he dissolved the right of ascension by publicly accusing his wife Pasiphae of fornicating with a male bovine.

Having enough conscience to keep from murdering his own flesh and blood, Minos had a labyrinth constructed, complicated enough to keep his son from ever escaping but without bars to suggest a prison. (It is interesting to note how the myth states most of the Athenian youth "fed" to the Minotaur actually starved to death in the Labyrinth, thus indicating their deaths had more to do with the complexity of the maze and less to do with the presumed ferocity of the Minotaur.)

I am convinced Minos' maze really serves as a trope for repression. My published thoughts on this subject (see "Birth Defects in Knossos"Sonny Won't Wait Flyer, Santa Cruz, 1968) inspired the playwright Taggert Chielitz to author a play called *The Minotaur* for The Seattle Repertory Company. As only eight people, including the doorman, got a chance to see the production, I produce here a brief summary:

Chielitz begins his play with Minos entering the labyrinth late one evening to speak to his son. As it turns out, the Minotaur is a gentle and misunderstood creature, while the so-called Athenian youth are convicted criminals who were already sentenced to death back in Greece. Usually King Minos has them secretly executed and then publicly claims their deaths were caused by the terrifying Minotaur thus ensuring that the residents of Knossos will never get too close to the labyrinth. Unfortunately this time, one of the criminals had escaped into the maze, encountered Mint (as Chielitz refers to the Minotaur) and nearly murdered him. Had Minos himself not rushed in and killed the criminal, his son would have perished. Suffice it to say Minos is furious. He has caught himself caring for his son and the resulting guilt and sorrow ineeses him to no end. As the play progresses, the King slowly sees past his son's deformities, eventually discovering an elegiae spirit, an artistie sentiment and most importantly a visionary understanding of the world. Soon a deep paternal love grows in the King's heart and he begins to conceive of a way to reintroduce the Minotaur back into society. Sadly, the stories the King has spread throughout the world concerning this terrifying beast prove the seeds of tragedy. Soon enough, a bruiser named Theseus arrives (Chielitz describes him as a drunken, virtually retarded, frat boy) who without a second thought hacks the Minotaur into little pieces. In one of the play's most moving scenes, King Minos, with tears streaming down his face, publicly commends Theseus' courage. The crowd believes the tears are a sign of gratitude while we the audience understand they are tears of loss. The King's heart breaks and while he will go on to be an extremely just ruler, it is a justice forever informed by the deepest kind of agony."

House of Leaves by Mark Z. Danielewski

pg. 110-111

[importantwomensbirthdays]

Kristina Lugn

Poet and playwright Kristina Lugn was born in 1948 in Tierp, Sweden. Lugn wrote eighteen plays and eight poetry collections. Her literary debut was the 1972 poetry collection Om jag inte, but she rose to prominence in 1983 with the play Bekantskap onskas med aldre herre. Lugn's works often dealt with sorrow and loneliness. She won the Selma Lagerlöf Literature Prize and the Bellman Prize, and was a member of the Swedish Academy, the body that chooses the recipient of the Nobel Prize in Literature.

Kristina Lugn died in 2020 at the age of 71.

Image source

[saintarmand]

Anusree Roy joins IWTV season 3 writers room!

Playwright, actor, and director, born in Kolkata, India in 1982, and immigrated to Canada with her family in 1999 when she was seventeen. Anusree Roy graduated from York University in 2006 with a B.A., and from the Graduate Centre for Study of Drama at the University of Toronto with an M.A. —Canadian Theatre Encyclopedia

website | instagram | twitter | imdb | wikipedia

While I'm not familiar with any of her work, two projects immediately stuck out to me as relevant to IWTV: I Woke Up A Vampire (a 2023 Netflix show about a 13-year-old half-vampire) suggests previous interest in vampire stories, and Brothel #9 (a 2011 award-winning play about a young woman sold to a brothel in Calcutta) seems to make her an ideal writer for Armand's backstory.

And of course they hired yet another award-winning playwright! I'm so excited to see what she brings to the show.