DOCSLIB.ORG

A Timeline of 'In the Blood'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Timeline of 'In the Blood' A TIMELINE OF IN THE BLOOD By Claire O'Connor JANUARY 2020 FUN FACT Tasia A Jones was hired as a guest artist for this Jones helped choose In the Blood project. She interviewed in August 2019 after for this season’s production. being referred on another project. Be sure to Usually the plays are chosen much check out Tasia A Jones’ previous work in farther in advance, usually a year Intimate Apparel, In the Blood, & The Inside! before, through a committee process involving students, faculty To find out more, check out the Department of and staff. However, there was a Theatre’s website: rights issue with the original play, so Jones was able to give her input https://cla.purdue.edu/academic/rueffschool/th on the new selection. eatre/about/index.html APRIL 2020 FUN FACT The crew for the production is April 24th 2020 was the submission deadline chosen long before casting for student video auditions. In the video, decisions are made. Crew is students needed to perform a contemporary finalized on a rolling basis starting monologue. Casting was completed at the end a year before the project debuts. of April. All performance and production assignments are chosen via open You can find out more about the audition audition or interview, and non- process here: theatre majors are always welcome! https://www.cla.purdue.edu/academic/rueffsch ool/theatre/news/auditions-in-the-blood.html FUN FACT AUGUST 2020 The Red Letter plays are two plays written by Suzan-Lori Parks, In the Blood Purdue's fall semester started on August 24th. & Fucking A. Both are loosely based on Through script analysis, performance analysis, the classic novel The Scarlet Letter by and design of Suzan-Lori Parks’s The Red Nathaniel Hawthorne. To learn more Letter plays, as well as the creation of original about these plays, read this interview monologues, students in the THTR 536 course with Suzan-Lori Parks: explored some of the tools and techniques that aid artists in virtual storytelling. https://www.timeout.com/newyork/theat er/suzan-lori-parks-talks-poiitics- inspiration-james-baldwin-and-the- You can learn more about the final class red-letter-plays project, In the Blood Part 1, using the link below! https://indd.adobe.com/view/2f2a883b-0f31- 4b0a-afae-e24aa0fed978 SEPTEMBER 2020 On September 25th, In the Blood Part 1 debuted. In the Blood will run in the In this presentation, members of the cast and Mallet Theatre in Pao Hall March production team exhibited their process by 25th-28th, 2021. sharing "confessions" from In the Blood as well as original monologues inspired by the work of To get tickets to this show or to Suzan-Lori Parks. The performance also find out more about all Purdue included confessions written by students about Theatre Productions please check their own lives. To get a better sense of In the out the Department of Theatre’s Blood this review can provide more detail: Upcoming Performances! https://www.vulture.com/2017/09/review-in- https://cla.purdue.edu/academic/ the-blood-has-never-felt-more-about-the- rueffschool/theatre/tickets/ present.html.
Load more

Recommended publications
  • I Pledge Allegiance to the Embroidered Scarlet
    I PLEDGE ALLEGIANCE TO THE EMBROIDERED SCARLET LETTER AND THE BARBARIC WHITE LEG ____________ A Thesis Presented to the Faculty of California State University Dominguez Hills ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Humanities ____________ by Laura J. Ford Spring 2018 ACKNOWLEDGEMENTS I would like to acknowledge the people who encouraged and assisted me as I worked towards completing my master’s thesis. First, I would like to thank Dr. Patricia Cherin, whose optimism, enthusiasm, and vision kept me moving toward a graduation date. Her encouragement as my thesis committee chair inspired me to work diligently towards completion. I am grateful to Abe Ravitz and Benito Gomez for being on my committee. Their thoughts and advice on the topics of American literature and film have been insightful and useful to my research. I would also like to thank my good friend, Caryn Houghton, who inspired me to start working on my master’s degree. Her assistance and encouragement helped me find time to work on my thesis despite overwhelming personal issues. I thank also my siblings, Brad Garren, and Jane Fawcett, who listened, loved and gave me the gift of quality time and encouragement. Other friends that helped me to complete this project in big and small ways include, Jenne Paddock, Lisa Morelock, Michelle Keliikuli, Michelle Blimes, Karma Whiting, Mark Lipset, and Shawn Chang. And, of course, I would like to thank my four beautiful children, Makena, T.K., Emerald, and Summer. They have taught me patience, love, and faith. They give me hope to keep living and keep trying.
    [Show full text]
  • The Colonizing Force of Hawthorne's the Scarlet Letter
    Laura “A” for Atlantic: Doyle The Colonizing Force of Hawthorne’s The Scarlet Letter In The Scarlet Letter, colonization just happens or, more accurately, has just happened. We might recall, by contrast, how Catharine Maria Sedgwick’s novel Hope Leslie elaborately narrates the sociopolitical process of making an Indian village into a native English spot. Hawthorne eclipses this drama of settlement. Although Haw- thorne, like Sedgwick, sets his plot of sexual crisis in the early colo- nial period of Stuart political crisis and English Civil War, he places these events in the distant backdrop, as remote from his seventeenth- century characters as his nineteenth-century readers. Meanwhile, he recasts Sedgwick’s whimsical heroine, Hope Leslie, as a sober, already arrived, and already fallen woman. In beginning from this already fallen moment, Hawthorne keeps off- stage both the “fall” of colonization and its sexual accompaniment. He thereby obscures his relationship to a long Atlantic literary and politi- cal history. But if we attend to the colonizing processes submerged in The Scarlet Letter, we discover the novel’s place in transatlantic his- tory—a history catalyzed by the English Civil War and imbued with that conflict’s rhetoric of native liberty. We see that Hawthorne’s text partakes of an implictly racialized, Atlantic ur-narrative, in which a people’s quest for freedom entails an ocean crossing and a crisis of bodily ruin. That is, The Scarlet Letter fits a formation reaching from Oroonoko, Moll Flanders, Charlotte Temple, and Olaudah
    [Show full text]
  • The Possession of Suzanlori Parks
    8/25/2016 American Theatre - Archives October 2000 HOME ABOUT SUPPORT CONTACT LOG IN Search The Possession of Suzan­Lori Parks By listening to "the figures that take up residence inside me," the playwright resurrects a lost and dangerous history­­and dares audiences to venture with her into its depths By Shawn­Marie Garrett Suzan­Lori Parks began writing novels at the age of five. But it wasn't until she first heard voices that she realized she might be cursed and blessed with a case of possession­­in both senses of that word. Parks knew that she possessed something, but she also knew that it possessed her. It was 1983. She was working on a short story called "The Wedding Pig" for a writing class she was taking with James Baldwin at Mount Holyoke College in South Hadley, Mass. Suddenly she had the sense that the people she was writing about were in the room with her, "standing right behind me, talking. Not telling the story, but acting it out­­doing it. It was not me," she says, "not the voice of confidence or the voice of doubt. It was outside of me. And all the stories I wrote for this class were like that." Parks intended from the beginning that her writing should be read aloud. So in Baldwin's workshops she would speak her stories, playing all the characters, recreating her creative process, moving naturally from writing to (or back to) performance. Observing her, Baldwin soon posed the obvious question: "Why don't you try writing plays?" Parks had never done theatre in high school or in college because, well, she thought it was "dumb," and most theatre people turned her off.
    [Show full text]
  • Gender, Class, and Identity in Alice Walker's the Color
    European Journal of English Language and Literature Studies Vol.7, No.1, pp.16-27, January 2019 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) GENDER, CLASS, AND IDENTITY IN ALICE WALKER’S THE COLOR PURPLE AND SUZAN-LORI PARKS’ IN THE BLOOD Manal Abdullah Ahmad Batobara1 and Mohammad Saleem2 1Department of European Languages and Literature, University of Jeddah, Jeddah, KSA 2Department of English, King Abdulaziz University, Rabigh, KSA ABSTRACT: The genesis of suffering of Afro-American women has multilayered factors, i.e., race, class, gender, etc. But the struggle of these women is still underrepresented. The present paper looks at the representation of Afro-American women in the fictions of two Afro-American women writers – Alice Walker and Suzan-Lori Parks – to investigate the gender, class, and race dynamics in their works. Their selected works were analyzed from a comparative perspective with a view to highlight the plight of Afro-American women, and to look for possible convergence in the emancipated portrayal of their juxtaposed characters. The thematic stress and characterization of the protagonists in the selected works suggests that oppression of black women can be challenged only if they realize their own strength, in the bonds of sisterhood, for instance, or in the refusal to submission to oppressive conditions. Superficially, the writers have come up with juxtaposed images of black women – Alice Walker's Celie victimized because of her poverty, race and gender, while Suzan-Lori Parks' Hester allowing herself to be exploited by men, resorting to filicide in the end. But, at a deeper level both the writers chide black woman for their lack of strength to put a bold face against their oppressors.
    [Show full text]
  • Gender-Specific Manifestations of Hysteria, Chlorosis, & Consumption
    Marquette University e-Publications@Marquette Dissertations (2009 -) Dissertations, Theses, and Professional Projects Insane in the Brain, Blood, and Lungs: Gender- Specific aM nifestations of Hysteria, Chlorosis, & Consumption in 19th-Century Literature Anna P. Scanlon Marquette University Recommended Citation Scanlon, Anna P., "Insane in the Brain, Blood, and Lungs: Gender-Specific aM nifestations of Hysteria, Chlorosis, & Consumption in 19th-Century Literature" (2019). Dissertations (2009 -). 884. https://epublications.marquette.edu/dissertations_mu/884 INSANE IN THE BRAIN, BLOOD, AND LUNGS: GENDER-SPECIFIC MANIFESTATIONS OF HYSTERIA, CHLOROSIS, & CONSUMPTION IN 19TH-CENTURY LITERATURE By Anna Scanlon A Dissertation submitted to the Faculty of the Graduate School, Marquette University, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Milwaukee, Wisconsin June 2019 ABSTRACT INSANE IN THE BRAIN, BLOOD, AND LUNGS: GENDER-SPECIFIC MANIFESTATIONS OF HYSTERIA, CHLOROSIS, & CONSUMPTION IN 19TH-CENTURY LITERATURE ANNA SCANLON MARQUETTE UNIVERSITY, 2019 This dissertation examines literary and medical texts from throughout the nineteenth and early twentieth centuries to better understand prevailing attitudes about gender and disease. The project traces the progression of three diseases – consumption, chlorosis, and hysteria – throughout the long nineteenth century, paying particular attention to the stereotypes and prevailing medical notions of each illness. In general, this work examines the influence of lovesickness, female-patient/male-doctor dynamics, and pathology on the endemic or epidemic nature of each disease. In particular, the first three chapters of this project study tuberculosis – or consumption as it was called in the nineteenth century – and the ways in which society presumed this illness manifested either through the female’s beauty or spirituality.
    [Show full text]
  • The Dramatic Writing of Suzan-Lori Parks As Liberatory Critical Pedagogy." (2012)
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2012 Theory, praxis and transformation : the dramatic writing of Suzan- Lori Parks as liberatory critical pedagogy. Tamika Keene University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Keene, Tamika, "Theory, praxis and transformation : the dramatic writing of Suzan-Lori Parks as liberatory critical pedagogy." (2012). Electronic Theses and Dissertations. Paper 731. https://doi.org/10.18297/etd/731 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THEORY, PRAXIS AND TRANSFORMATION: THE DRAMATIC WRITING OF SUZAN-LORI PARKS AS LIBERATORY CRITICAL PEDAGOGY By Tamika Keene B.A., SUNY Albany, 2010 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Pan African Studies University of Louisville Louisville, KY May 2012 THEORY, PRAXIS AND TRANSFORMATION: THE DRAMATIC WRITING OF SUZAN-LORI PARKS AS LIBERATORY CRITICAL PEDAGOGY By Tamika Keene B.A., SUNY Albany, 2010 A Thesis Approved on April 18, 2012 by the following Thesis Committee: Dr. Joy Carew Thesis Director Dr. Lundeana Thomas Dr.
    [Show full text]
  • T O P D O G /U N D E R D
    STUDENT MATINEE GUIDE Marin Theatre Company T 12/13 Student Matinees O P D O G / U N D E R D Bowman Wright (Lincoln) and Biko Eisen-Martin (Booth) in Suzan-Lori Parks’s Topdog/Underdog O G visit marintheatre.org/dramapedia for more information about our plays Marin Theatre Company Performance Guides are intended to enrich your theatre experience by offering insight to the play and inspiring intellectual discovery through key background information. The guide often offers notes on historical or cultural context as well as interviews with the artists about productions and scripts. We hope the guide JASSON MINADAKIS | ARTISTIC DIRECTOR enhances your enjoyment of the performance. SANDRA WEINGART | INTERIM MANAGING DIRECTOR DAUNIELLE RASMUSSEN | INTERIM DIRECTOR OF www.marintheatre.org | EDUCATION 415.388.5200 x3310 STUDENT MATINEES AT MTC At MTC, we believe that theatre offers our community the chance to share in the act of imaginative storytelling – live, in person, in the moment. For audiences and performers alike, theatre is a creative act, and we believe that sharing in a creative act inspires personal growth and brings people together. MTC's Expanded Programs open up opportunities for people of all ages and all communities to participate in the joyous, challenging, and inspiring process of theatre. The Student Matinee series is a key component of MTC's Expanded Programs and a fantastic opportunity for young people in Marin and the Bay Area. MTC's Student Matinees are special weekday morning performances of plays we're presenting in our regular season – the same plays that are delighting audiences, earning rave reviews, and contributing to the cultural fabric of our community.
    [Show full text]
  • Early American Adaptations
    1 Contemporary Adaptations of Early American Texts/ Authors/Topics Compiled by Zabelle Stodola from Postings to the SEA Discussion List, July-August 2011 A bullet marks each person’s posting(s), sometimes with related additions of my own. When someone provided a particularly detailed response, I have identified that person at the beginning of his/her post. I have kept all the original responses, so if you want me to tell you who posted what, please contact me offlist and I can provide that information. The order is moreorless according to when the responses were posted to the earam list. Since so many responses came in, I have not checked for accuracy and I have not deleted some duplicate suggestions. Thanks to all. Enjoy! • Salem Witchcraft documents; The Scarlet Letter (and the teen film Easy A partly inspired by it as well as Suzan-Lori Parks’ play Fucking A); Hawthorne short stories and various aspects of Puritan history; The Crucible of course; and Maryse Conde’s I, Tituba • (From Steve Thomas) Two additions. First, was Rita Dove’s poem “David Walker” mentioned already? Second, a couple years ago I think I sent to this list-serve a list of contemporary Scarlet Letters (and by contemporary, I vaguely mean stuff published after the 1970s). I can’t seem to find that old e-mail, but I will include the list below and update it. In addition to this list below, Leland Person gave a presentation at a Hawthorne conference a few years back about references to Scarlet Letter in mainstream media.
    [Show full text]
  • ENG 402: Advanced Placement English Literature & Composition Summer Reading
    ENG 402: Advanced Placement English Literature & Composition Summer Reading Dear students, Welcome to Advanced Placement English Literature and Composition! You have chosen a challenging, but rewarding path. This course is for students with intellectual curiosity, a strong work ethic, and a desire to learn. I know all of you have been well prepared for the “Wonderful World of Literature” in which we will delve into a wide selection of fiction, drama, and poetry. In order to prepare for the course, you will complete a Summer Reading Assignment prior to returning to school in the fall. Your summer assignment has been designed with the following goals in mind: to help you build confidence and competence as readers of complex texts; to give you, when you enter class in the fall, an immediate basis for discussion of literature – elements like narrative viewpoint, symbolism, plot structure, point of view, etc.; to set up a basis for comparison with other works we will read this year; to provide you with the beginnings of a repertoire of works you can write about on the AP Literature Exam next spring; and last but not least, to enrich your mind and stimulate your imagination. If you have any questions about the summer reading assignment (or anything else pertaining to next year), please feel free to email me ([email protected]). I hope you will enjoy and learn from your summer reading. I am looking forward to seeing you in class next year! Have a lovely summer! Mrs. Yee Read: How to Read Literature Like a Professor by Thomas C.
    [Show full text]
  • 2016 the Best Men's Stage Monologues
    2016 The Best Men’s Stage Monologues 2016 The Best Men’s Stage Monologues Edited by Lawrence Harbison Smith and Kraus Publishers 2016 2016 The Best Men’s Stage Monologues © 2016 by Smith & Kraus Inc. CAUTION: Professionals and amateurs are hereby warned that the plays represented in this book are subject to a royalty. They are fully protected under the copyright laws of the United States of America and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the Brit- ish Commonwealth), The Berne Convention, the Pan-American Copyright Convention and the Universal Copyright Convention as well as all countries with which the United States has recipro- cal copyright relations. All rights, including professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information storage and retrieval systems and photo- copying, and the rights of translation into foreign languages, are strictly reserved. All rights reserved. ISBN: 1-57525-907-9 ISBN: 978-1-57525-907-9 ISSN: 2329-2695 Typesetting and layout by Elizabeth Monteleone Cover Design: Olivia Monteleone A Smith and Kraus book 177 Lyme Road, Hanover, NH 03755 Editorial 603.643.6431 To Order 1.877.668.8680 www.smithandkraus.com Printed in the United States of America 4 2016 The Best Men’s Stage Monologues Table of Contents Foreword 11 Lawrence Harbison The Art Of Bad Men
    [Show full text]
  • Fucking a and One Flew Over the Cuckoo's Nest - Theater
    By the Book: Fucking A and One Flew Over the Cuckoo's Nest - Theater ... http://www.washingtoncitypaper.com/display.php?id=37596 advertisement Find a Show Features & Reviews advertisement Post FREE Classifieds or FREE Personals profile Crafty Bastards! Saturday, October 3rd Enter to Win Passes to an Advanced Screening of Ponyo Enter to Win Tickets to Face of America Enter to Win Passes to an Advanced Screening of Cold Souls Enter to win a $50 gift certificate to CommonWealth Enter to Win Passes to The Rocky Horror Picture Show Enter to Win Tickets to see Hippiefest - A Concert for Peace & Love Enter to Win Tickets to an Advance Screening of The Goods: Live Hard. Sell Hard. BOUNCE Monthly Roaming Club Party 1 of 4 8/1/2009 10:59 PM By the Book: Fucking A and One Flew Over the Cuckoo's Nest - Theater ... http://www.washingtoncitypaper.com/display.php?id=37596 Comments Print By the Book: Fucking A and One Flew Over Best of D.C. 2009 the Cuckoo's Nest A flat update of Hawthorne; a disappointingly tidy Kesey adaptation. BY GLEN WELDON POSTED: JULY 29, 2009 Fucking A By Suzan-Lori Parks; Directed by Keith Alan Baker and Rahaleh Nassri At the Studio Theatre’s 2nd Stage to Aug. 9 One Flew Over the Cuckoo’s Nest By Dale Wasserman, based on the novel by Ken Kesey; Directed by Susan M. Rhea; Produced by Keegan Theatre At the Church Street Theater to Aug. 15 richh19 As staged at Studio, Suzan-Lori Parks’ astringent, ambitious take on abortion and revenge is missing something important at its heart—and it ain’t blood.
    [Show full text]
  • A Dictionary of Biblical Allusions in the Scarlet Letter
    ,- A Dictionary of Biblical Allusions in The Scarlet Letter An Honors Thesis (HONRS 499) by Kory 1. Watson Dr. Donald Gilman, Advisor Ball State University Muncie, Indiana May 1997 Graduation date: August 1998 ._ I: - TABLE OF CONTENTS i) ABSTRACT ................................................................................................................................. 2 ii) INTRODUCTION ....................................................................................................................... 3 iii) DICTIONARY OF BIBLICAL REFERENCES (in order of textual appearance) ....................................................................................................... 6 iv) INDEX OF BIBLICAL REFERENCES (in alphabetical order) .................................................................................................................... 39 v) REFERENCES .......................................................................................................................... 44 - 1 - I. ABSTRACT Biblical allusions resonate in Hawthorne's The Scarlet Letter. In general, Hawthorne does not simply mention a biblical figure or event, but often reworks it in order to deepen the meaning of the text. This volume is a catalogue which lists the allusions both alphabetically, and in order oftheir appearance in the text. Its purpose is to elucidate some of the multivalent meanings inherent in this novel. - 2 - II. INTRODUCTION Nathaniel Hawthorne's The Scarlet Letter (1850) is undoubtedly one of American literature's most studied
    [Show full text]