Barber Shop Chronicles: Modern Plays
Autor Inua Ellamsen Limba Engleză Paperback – 12 iul 2021
Inspired in part by the story of a Leeds barber, the play invites the audience into a unique environment where the banter may be barbed, but the truth always telling. The barbers of these tales are sages, role models and father figures who keep the men together and the stories alive.
Inua Ellams's celebrated play was first produced by the National Theatre, Fuel and Leeds Playhouse in 2017.
| Toate formatele și edițiile | Preț | Express |
|---|---|---|
| Paperback (1) | 87.73 lei 3-5 săpt. | +0.00 lei 7-13 zile |
| Bloomsbury Publishing – 9 sep 2021 | 87.73 lei 3-5 săpt. | +0.00 lei 7-13 zile |
| Paperback (1) | 80.00 lei 3-5 săpt. | +0.00 lei 7-13 zile |
| Bloomsbury Publishing – 12 iul 2021 | 80.00 lei 3-5 săpt. | +0.00 lei 7-13 zile |
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Specificații
ISBN-13: 9781350281714
ISBN-10: 1350281719
Pagini: 96
Dimensiuni: 128 x 196 x 16 mm
Greutate: 0.08 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
ISBN-10: 1350281719
Pagini: 96
Dimensiuni: 128 x 196 x 16 mm
Greutate: 0.08 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Modern Plays
Locul publicării:London, United Kingdom
Recenzii
This is an absolute cracker. Inua Ellams has the simple but ingenious idea of exploring black masculinity through the humble barber's shop... It's funny, fast, laced with music and dance, and performed with irresistible good humour and style... But deep down this is also a thoughtful, serious and moving piece of drama... he writes with zip and a wonderful ear, and the piece is beautifully woven.
It's a play crammed with questions, discussing African attitudes to parental discipline in one scene, and the role Nigerian Pidgin plays in cultural identity in the next. Idea follows idea: Christianity as a business fattening the wallets of pastors; the western media's depiction of Lagos; the way that words can be used to debase and destroy. Again and again the plays returns to the theme of black masculinity and the different shapes it can take... The tone of the play shifts fluidly from comedy to poignancy to rage... This is all handled with skill and a huge amount of warmth. Barber Shop Chronicles is a pleasure to experience. The level of joy in the room is high... Rich, exhilarating theatre that opens a window into a world of men.
It's always bracing to watch the National open its arms, doors and repertoire to new work, new audiences, new experiences. There's certainly not been anything like this all-male, all-black piece from poet/playwright Inua Ellams, which bounces with brio as it whisks us around a series of African barber shops in six countries on two continents over the space of a single day... it becomes gradually clear that these resolutely female-free spaces are also part confessional, part psychiatrist's chair for both the staff and customers. Hefty topics ripple and re-echo over the thousands of miles that separate the establishments: how to be a father, how to be a son, how to be a man. A joke about a fly in a pint also travels effortlessly.
It's a play crammed with questions, discussing African attitudes to parental discipline in one scene, and the role Nigerian Pidgin plays in cultural identity in the next. Idea follows idea: Christianity as a business fattening the wallets of pastors; the western media's depiction of Lagos; the way that words can be used to debase and destroy. Again and again the plays returns to the theme of black masculinity and the different shapes it can take... The tone of the play shifts fluidly from comedy to poignancy to rage... This is all handled with skill and a huge amount of warmth. Barber Shop Chronicles is a pleasure to experience. The level of joy in the room is high... Rich, exhilarating theatre that opens a window into a world of men.
It's always bracing to watch the National open its arms, doors and repertoire to new work, new audiences, new experiences. There's certainly not been anything like this all-male, all-black piece from poet/playwright Inua Ellams, which bounces with brio as it whisks us around a series of African barber shops in six countries on two continents over the space of a single day... it becomes gradually clear that these resolutely female-free spaces are also part confessional, part psychiatrist's chair for both the staff and customers. Hefty topics ripple and re-echo over the thousands of miles that separate the establishments: how to be a father, how to be a son, how to be a man. A joke about a fly in a pint also travels effortlessly.
Cuprins
CHRONOLOGY
COMMENTARY
PLAYWRIGHT
CONTEXT
Black British drama (including work of practitioners such as Roy Williams, debbie tucker green and Mojisola Adebayo)
THEMES
Masculinity (including sport and sexuality) and how it shapes characters and subverts universal and specifically black and African notions of masculinity
GENRE
Verbatim theatre (use of transcripts to create a work of fiction); comparing to other verbatim plays such as London Road and The Permanent Way
SETTING
Barbershop as a 'safe space' for black men
Diasporic movements - how the play's transnational locations construct a 'black' identity
PLAY TEXT
FURTHER READING
COMMENTARY
PLAYWRIGHT
CONTEXT
Black British drama (including work of practitioners such as Roy Williams, debbie tucker green and Mojisola Adebayo)
THEMES
Masculinity (including sport and sexuality) and how it shapes characters and subverts universal and specifically black and African notions of masculinity
GENRE
Verbatim theatre (use of transcripts to create a work of fiction); comparing to other verbatim plays such as London Road and The Permanent Way
SETTING
Barbershop as a 'safe space' for black men
Diasporic movements - how the play's transnational locations construct a 'black' identity
PLAY TEXT
FURTHER READING