104 research outputs found
Autobahn (Off the Wall) program (2010)
No full textBSC Drama Club presents Off... the Wall 2010: Student-Directed Short Plays for Adult Audiences. 5 Scenes from Autobahn / by Neil Labute, collection of one-act plays set within the confines of a car. 1) Benchseat / directed by Brandi Hornbuckle; 2) All Apo
Autobahn (Off the Wall) poster (2010)
No full textBSC Drama Club presents Off... the Wall 2010: Student-Directed Short Plays for Adult Audiences. 5 Scenes from Autobahn / by Neil Labute, collection of one-act plays set within the confines of a car. 1) Benchseat / directed by Brandi Hornbuckle; 2) All Apo
Autobahn (Off the Wall) (2010)
No full textBSC Drama Club presents Off... the Wall 2010: Student-Directed Short Plays for Adult Audiences. 5 Scenes from Autobahn / by Neil Labute, collection of one-act plays set within the confines of a car. 1) Benchseat / directed by Brandi Hornbuckle; 2) All Apologies / directed by Eric Morris; 3) Merge / directed by Tim Rosin; 4) Long Division / directed by Mercer Sage; 5) Road Trip / directed by Derek Harper
C2C Theatre Presents, Autobahn A Short Play Cycle By Neil Labute, January 25-29, 2006
No full textC2C Theatre Presents, Autobahn A Short Play Cycle By Neil Labute, January 25-29, 200
MEDEA O EL DESORDEN EN MEDEA REDUX DE NEIL LABUTE
No full textEn el marco de las investigaciones sobre la recepción de Medea en la literatura y las artes, el presente artículo presenta un estudio de la obra teatral Medea Redux, reescritura de la Medea de Eurípides del controvertido dramaturgo norteamericano Neil Labute (1999). Mediante un análisis comparativo entre los textos de ambos autores se estudian los procedimientos mediante los cuales Labute se "apropia" del mythos antiguo, para concluir sobre qué aspectos interesan al dramaturgo contemporáneo y en qué ámbitos innova, tanto en lo que se refiere a la propia narración del relato mítico y a la caracterización de los personajes, como a la eliminación o conservación de ciertos aspectos formales presentes en la tragedia antigua. Igualmente se establece una conexión entre el teatro de Labute -en Medea Redux pero también en Helter Skelter, pieza de 200
Legitimierte Gewalt: zum Verhältnis von Sprache und Gewalt in Theatertexten von Elfriede Jelinek und Neil LaBute
No full textBloch N. Legitimierte Gewalt: zum Verhältnis von Sprache und Gewalt in Theatertexten von Elfriede Jelinek und Neil LaBute. Literalität und Liminalität ; 19. Bielefeld: Transcript; 2011
Power and Relationships in the Plays of Neil LaBute: Directing and Performing in Some Girl(s)
Get PDFThis thesis explores the major works of Neil LaBute\u27s career as a playwright and screenwriter, including the criticism he has received on theatrical and literary levels. The themes most prevalent in the thesis are the use of power and manipulation in the relationships between LaBute\u27s characters and the ongoing maturation of his characters that coincides with the maturation of his work. The second section of the thesis follows the production, directing, and acting in LaBute\u27s play Some Girl(s)
The shape of things
No full textHow far would you go for love? For art? What would you be willing to change? Which price might you pay? Such are the painful questions explored by Neil Labute in The Shape of Things. A young student drifts into an ever-changing relationship with an art major while his best friends' engagement crumbles, so unleashing a drama that peels back the skin of two modern-day relationships, exposing the raw meat and gristle that lie beneath
Looking For Ways To Ruin A Perfectly Good Day: Masculinity in bash: the latter-day plays by Neil LaBute
Get PDFNeil LaBute is one of the most prolific and challenging playwrights in America today. My thesis will explore his work bash: the latter-day plays through the frame of the performance and use of masculinity by his characters, and will create a vocabulary through which the remainder of LaBute\u27s works can be studied, both in terms of academic scholarship and the practical application of that scholarship to the process of theatrical creation
Narrative elements in selected plays by Neil LaBute
No full textDiese Arbeit widmet sich der Untersuchung der Verwendung von narrativen Elementen in ausgewählten Stücken von Neil LaBute. LaBute ist ein von Kritikern gefeierter, zeitgenössischer amerikanischer Dramatiker, dessen Werke für ihr polarisierendes Potential berüchtigt sind. Seine Theaterstücke fordern jedoch nicht nur das Publikum heraus, sondern auch die Grenzen etablierter Auffassungen von Drama. Aus diesem Grund ist ein Hauptaugenmerk dieser Arbeit die Betrachtung der eigentümlichen Beziehung zwischen narrativer Theorie und Drama. Ein Überblick grundlegender narratologischer Konzepte wie etwa ‚narrative‘ und ‚narrativity‘ und der Ursprünge der vermeintlichen Unvereinbarkeit von Narrativ und Drama bildet die theoretische Basis dieser Arbeit. Die Untersuchung hat gezeigt, dass sich eine Abgrenzung zwischen narrativer Theorie und Drama aufgrund des Aufkommens des Romans und dessen Privilegierung gegenüber anderen literarischen Formen in der Narratologie entwickelt hat. Als Folge wurde Drama als nicht-narrativ eingestuft und noch näher mit Mimesis als mit Diegesis verknüpft. Nichtsdestotrotz haben verschiedene Narratologen diese dichotome Position in Frage gestellt und eine Vielzahl an unterschiedlichen diegetisch narrativen Elementen in zahlreichen dramatischen Werken feststellen können.This thesis aims to make a contribution to the better understanding of the techniques and the use of narrative elements in selected plays of Neil LaBute, a critically-acclaimed, contemporary American playwright, whose dramatic works are notorious for their polarizing effects. His plays, however, do not only challenge the audience, but also the boundaries of traditional conceptions of drama. Therefore, a main focus of this thesis is the investigation of the peculiar relationship of narrative theory and drama. An overview is provided of basic narratological concepts such as ‘narrative’ and ‘narrativity’, on the one hand, and of the origins of the perceived incommensurability of narrative and drama, on the other. The investigation has shown that a distinction between narrative theory and drama has evolved in the wake of the emergence of the novel and its subsequent unilateral consideration of narratologists. As a consequence, drama has been labeled as non-narrative and has been more closely associated with mimesis than diegesis. Nevertheless, various scholars have brought this dichotomous position into question and have discerned a multitude of diegetic narrative elements in numerous dramatic works.
The use of narrative elements by Neil LaBute has been examined via an analysis of selected plays which include This Is How It Goes (2005), autobahn: a short play cycle (2005), Wrecks and other plays (2007), and Reasons to be Pretty (2008). The analysis has shown that a plethora of narrative elements are employed in these plays. These are monodramatic speech, the presence of a narrator figure, unreliable narration, frames and framing devices, and stage directions which go beyond a mere description. Preeminently featured in the selected plays are the narrative elements monodramatic speech and unreliable narration. Thus it can be said that many of LaBute’s plays defy a traditional notion of drama and exhibit multifarious parallels to other literary forms, in particular the dramatic monologue
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