By Stephen Bottoms
Edward Albee, probably most sensible identified for his acclaimed and notorious Sixties drama who is fearful of Virginia Woolf?, is one in every of America's maximum residing playwrights. Now in his seventies, he's nonetheless writing not easy, award-winning dramas. The essays during this assortment offer a finished, multi-faceted survey of Albee's profession. Written in a fascinating and obtainable means, this ebook may still charm both to scholars, students, and basic readers.
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Additional info for The Cambridge Companion to Edward Albee (Cambridge Companions to Literature)
Such statements are not, it must be stressed, simply a case of Albee playing games. Rather, his notion of what is “real” is quite the opposite of the unthinking realism of so much theatre, ﬁlm, and television, which seeks slavishly to reproduce the outward appearance of everyday life as we normally perceive it. Our very notions of what is real, his plays repeatedly imply, are themselves the product of habitual assumptions, even ﬁctional constructions. 10 It is no coincidence that more than one contributor to this volume sees parallels between Artaud and Albee.
Albee . . you . . )” (89). Indeed, YAM’s ﬂedgling success off-Broadway – DILEMMA, DERELICTION, AND DEATH – is perhaps an allusion to The Zoo Story: its title is printed in capital letters in the script as if written on Jerry’s old typewriter, which used only capitals. Condescendingly, FAM remarks, “You youngsters are going to push us out of the way” (89). With “an unintentionally teeth-baring smile,” YAM sardonically responds, “Well, maybe there’ll be room for all of us” (89). But after YAM refuses to have a drink, leaves, and calls FAM from the lobby to thank him again for the interview, FAM shouts, “THE INTERVIEW, THE INTERVIEW”: “his face turns ashen .
The Sandbox was commissioned by, but never performed at, the Spoleto Festival. It premiered instead at the Jazz Gallery in April of 1960, and was subsequently televised in 1961. Like The American Dream, The Sandbox centers on the ﬁgure of Grandma, and the play is dedicated to Albee’s beloved maternal Grandmother Cotter who died in 1959, and with whom he sympathized for being a victim, like him, of her daughter, Albee’s adoptive mother Frances Loring Cotter Albee. 20 He rebelled against this upbringing, however, satirizing his parents in his portraits of domineering mothers and weak fathers.