Poet in da Corner: Oberon Modern Plays
Autor Debris Stevensonen Limba Engleză Paperback – 25 sep 2018
In a strict Mormon household somewhere in the seam between East London and Essex, a girl is given Dizzee Rascal's ground-breaking grime album Boy in da Corner by her best friend SS Vyper.
Precisely 57 minutes and 21 seconds later, her life begins to change - from feeling muted by dyslexia to spitting the power of her words; from being conflicted about her sexuality to finding the freedom to explore; from feeling alone to being given the greatest gift by her closest friend.
In this semi-autobiographical piece, step into a technicolour world where music, dance and spoken word collide, and discover how grime allowed Debris Stevenson to redefine herself.
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Specificații
ISBN-13: 9781786826732
ISBN-10: 1786826739
Pagini: 96
Dimensiuni: 130 x 198 x 18 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Oberon Books
Seria Oberon Modern Plays
Locul publicării:London, United Kingdom
ISBN-10: 1786826739
Pagini: 96
Dimensiuni: 130 x 198 x 18 mm
Greutate: 0.09 kg
Editura: Bloomsbury Publishing
Colecția Oberon Books
Seria Oberon Modern Plays
Locul publicării:London, United Kingdom
Recenzii
"It's rare to come across a piece of theatre that is so gloriously and absolutely itself as this sparks-flying homage to grime music... one of the most exciting things I've seen all year... this poet deserves to be front & centre." ?????
An ode to [grime], performed as a poetic monologue but also a kind of grime musical... Stevenson maintains raw energy and passion and it is thrilling to see grime as a mode of theatrical storytelling. The heartstopping moments, though, are in the spoken-word poetry, when words blaze the stage and Stevenson appears like the Kate Tempest of grime. ????
Like Stevenson's sprinting lyrics, Ola Ince's production oozes assurance... the skill with words clings.
A gutsy, gritty breath of fresh air - a galvanising love letter to the music that allowed her to escape her claustrophobic East London upbringing... Stevenson is a witty wordsmith, spitting punchy, rapid-fire bars on education, on religion, on politics and everything in between, weaving in a classically structured coming-of-age rebellion story of a repressed teenager finding their voice through music... best of all, Poet In Da Corner is alive to its own innate complications... an energetic, exuberant gig-theatre show, built with theatrical savviness on Dizzee Rascal's iron-strong foundation." ????
Putting grime in a theatre space is always going to feel weird, and 'Poet in da Corner' is endlessly aware of what it means to put a white girl in the middle of this story and this theatre. Does it do enough? I guess I'm not the right person to answer that question. But Stevenson's performance feels undeniable, soaked in the sweat of a '00s east London that's not quite Dizzee Rascal's, but authentically hers. ????
Christian is a delicate and thoughtful writer, deftly handling the moral complexity of her material
An ode to [grime], performed as a poetic monologue but also a kind of grime musical... Stevenson maintains raw energy and passion and it is thrilling to see grime as a mode of theatrical storytelling. The heartstopping moments, though, are in the spoken-word poetry, when words blaze the stage and Stevenson appears like the Kate Tempest of grime. ????
Like Stevenson's sprinting lyrics, Ola Ince's production oozes assurance... the skill with words clings.
A gutsy, gritty breath of fresh air - a galvanising love letter to the music that allowed her to escape her claustrophobic East London upbringing... Stevenson is a witty wordsmith, spitting punchy, rapid-fire bars on education, on religion, on politics and everything in between, weaving in a classically structured coming-of-age rebellion story of a repressed teenager finding their voice through music... best of all, Poet In Da Corner is alive to its own innate complications... an energetic, exuberant gig-theatre show, built with theatrical savviness on Dizzee Rascal's iron-strong foundation." ????
Putting grime in a theatre space is always going to feel weird, and 'Poet in da Corner' is endlessly aware of what it means to put a white girl in the middle of this story and this theatre. Does it do enough? I guess I'm not the right person to answer that question. But Stevenson's performance feels undeniable, soaked in the sweat of a '00s east London that's not quite Dizzee Rascal's, but authentically hers. ????
Christian is a delicate and thoughtful writer, deftly handling the moral complexity of her material