In the NY Times ArtBeat section, I found an article about Marina Carr’s new adaptation of Phaedra and the Minotaur, Phaedra Backwards. In her adaptation, Carr tells the story of Phaedra backwards, hence the name. I think this could be really interesting when paired with an adaptation/translation that is a lot closer to the original. By seeing the two together where one ends and the other begins, the story would come full circle. Watching the story both in the way it was originally told/written and in Carr’s adaption, the audience would leave with two varying perspectives. By doing so, a great discussion of what it means to tell a story in the way it was originally written and when told backwards would emerge, potentially influencing more theaters to follow this method.
-
Recent Posts
- VISIT OUR NEW BLOG 2.0
- Transitions by Reggie Watts
- Stefan Zeromski Theatre’s “In the Solitude of Cotton Fields”
- Jay Scheib!
- The Method Gun
- Art and/or Pornography Continued
- An Illiad
- Critical Response: The Andersen Project at The Cutler Majestic
- Is NYC still alive and kicking?
- stripping a bodice, dancing with shadows, and projections for all
- HEY LADIES: Half Straddle
- Friends or Foes?: Art and Pornography
- Critical Response: Ma Rainey’s Black Bottom at The Huntington Theatre
- More articulated thoughts on ‘Hookman’
- Radiohole’s ‘Whatever, Heaven Allows’
Tags
absence accountants Arcadia Arena Stage arts funding boston playwrights' theatre Candide community Company One death DollHouse eurocentrism failure God of Carnage gordimer government cuts Green Eyes Guirgis casting ethnicity heather houston highland center indiana Huntington Theatre Company interviews Mabou Mines McPherson Oleanna peter floyd pinter playwrights playwriting poetry Prop 8 reginald edmund Rehearsal Stoppard supergravity and the eleventh dimension the ground floor new play series The Huntington the Pillowman the Weir the writing life video games Weir writers writers' block zadie smithMeta
