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Botho Strauss: Three Plays
Botho Strauss, Jeremy Sams
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eBook - ePub
Botho Strauss: Three Plays
Botho Strauss, Jeremy Sams
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About This Book
Includes the plays The Park, A Midsummer Night's Dream and Time and the Room
These three plays, first published in German in the 1980s, show Strauss developing an enigmatic, unsettling and uniquely theatrical style. Set in Hamburg, The Park is Strauss's take on A Midsummer Night's Dream. Seven Doors brings together a jilted husband, a wedding without guests and two monks with an intimate knowledge of hell. In Time and The Room, the room contrives to be the play's main character.
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Information
THE PARK
Characters
GEORGE
HELEN
TITANIA
OBERON
FIRSTLING
COURTLING
THREE BOYS
TWO GIRLS
HELMA
BLACK BOY
CYPRIAN
WOLF
DEATH â THE MAN IN BLACK
THREE YOUNG MEN
BARMAN
YOUNG WAITER
TITANIAâS FABLE-SON
WAITRESS
This translation of The Park was first produced by the RSC in 1995 at the Pit Theatre, with the following company:
GEORGE, Simon Dormandy
HELEN, Julie Graham
TITANIA, Louise Jameson
OBERON, Adrian Lukis
FIRSTLING, Simon Kunz
COURTLING, Michael Jenn
BOY, Tom Williams
GIRL, Alison Reid
HELMA, Tessa Peake-Jones
BLACK BOY, Garron Mitchell
CYPRIAN, Barry McCarthy
WOLF, Richard Hope
DEATH / FABLE-SON, Jo Stone-Fewings
BARMAN, Tom Walker
YOUNG WAITER, Mark Lutheren
LITTLE MAN, Daniel Sharman
Director & Designer, David Fielding
Lighting Designer, Thomas Webster
Music, Adrian Johnston
Act One
SCENE 1
Town park. Bushes. The red elder twigs are bare, as if in winter. All sorts of rubbish lying around: paper, beer cans, old tights, shoes, a broken cassette trailing tape. While the stage is still dark, headlamps pass over the scene. Sounds of circus animals in their cages. Then light; dull light. We see a sand-pit; the sand is filthy. Behind, a dark red curtain, split down the middle. Strong light shines from this opening. An empty trapeze sways to and fro. HELEN is sitting on the edge of the sand-pit. Shaking. Smoking a cigarette. Enter GEORGE.
GEORGE: Good evening â howâs it going?
HELEN: Oh, hi! Well, you know. Not so bad â itâs all right â itâs okay.
GEORGE: I thought it would be nice to see you again. I thought IâdâŚ
HELEN: Fine⌠Great.
GEORGE: So. Howâs things. Howâs Art?
HELEN: Art? Youâre joking, you call that art? What they do isnât art. Artâs something else. Theyâre just a bunch of fucking amateurs in there.
GEORGE: Look, youâre freezing to death. Why arenât you in rehearsing with the others?
HELEN: Me? Iâm not working with that lot any more. No way am I working with them any more.
GEORGE: God, did you have a bust-up with your colleagues? What happened, did you get fed up with them? Did they get fed up with you?
HELEN: With me? Listen, they think Iâm fabulous. Theyâre crazy about me. I show up and I say, âHere, watch this, youâll love this.â And I do them âSexy Helen on her Bed of Nailsâ or âThe Birdwomanâ. You know, shit like that. But up on the trapeze itâs nothing but nag, nag, nag. My timing isnât right, or Iâm too tall, or Iâm too short. Always some little gripe. So I start thinking, fuck this, Iâm not some dumb little bimbo they can push around the whole time.
GEORGE: Iâm sure theyâll be missing you in there.
HELEN: They wonât⌠I took a dive.
GEORGE: You what?
HELEN: I fell â from up there â fell off. Fell downâŚ
GEORGE: Off the rope?
HELEN: Off the trapeze.
GEORGE: With a safety net?
HELEN: Nope.
GEORGE: Didnât you hurt yourself?
HELEN: I didnât get right back up there. Thatâs the thing. Thatâs the thing youâre not allowed to do. Iâm doing this double twist â piece of cake â and then I just kind of fell. Look I can do a double twist, no problem. But this time I missed Pascalâs hand. Completely misjudged it. So down I go slap-bang into the sand. And I didnât go back up. I thought, no way are you going back up there. And thatâs the rule in the circus. You gotta get back up there. Even if itâs some amateur outfit. Even then. Youâve got to do it again or youâve blown it for good.
GEORGE: Iâll drive you to the hospital. Someone should take a look at you.
HELEN: No. No, leave it. Iâll just go and have a wash. Shitty amateur bloody circus. Sheer waste of time. Bunch of no-hopers. Just amateurs. All talk, no action.
GEORGE: Come on. Weâll go and have a drink.
HELEN: Really? Okay. Fine.
(He puts his jacket over her shoulders. They leave.) I know these guys, these so-called superstars. I tell you, Iâm every bit as good as them. They got nothing on me, none of them. Big mouths, but thatâs all.
SCENE 2
TITANIA and OBERONâs heads appear in the bushes.
TITANIA: Back again, my Oberon? Back To pursue your sad, pathetic cause?
OBERON: Do not mock me, heartless Titania.
TITANIA: Me, I am no more heartless than you, my jealous Lord.
OBERON: Not even the clods of mud beneath our feet Can temper the pace of your lust.
TITANIA: Nor does your jealousy appear to wane
Though now it stalks me through the cold, and empty
Cities, and not, as once it did
Through the soft meadows of the clouds.
You hunt me through the heavens and on earth
But still your jealous song remains the same.
OBERON: Then stay here by my side, and let us try
To double our effect upon the cities.
Our endless bickering can only serve
To dull our radiance.
TITANIA:True, my Oberon
But still, our love of lust will always make us
Seem cantankerous.
OBERON: I have nothing against lust, certainly not my own.
TITANIA:No more have I.
But when you cram a god into this frame,
This finite insufficient human shape,
It will hurt. It does, itâs bloody agony.
(They disappear. Enter FIRSTLING and COURTLING.)
FIRSTLING: Look, donât be offended, but itâs this far and no further. This is far enough.
COURTLING: But is this the place? Is it here that it starts?
FIRSTLING: Letâs go back, it doesnât feel quite rightâŚ
COURTLING: I donât believe this! Youâre too scared to go walking through the park at night and yet you still have these dreams, like some randy old bull, of knocking a woman down in the bushes and raping her on the spot.
FIRSTLING: The fat woman. Yes, rather.
COURTLING: The fat woman. Who goes around with the skinniest man in the world. That beanpole. Legs like flamingos.
FIRSTLING: Used to. Used to go around with him. The thin man is dead.
COURTLING: No â really?
FIRSTLING: Yes.
COURTLING: Why is he dead?
FIRSTLING: What do you mean, âwhyâ?
COURTLING: What did he die of?
FIRSTLING: What of? A thin man, who gets thinner every day, sooner or later heâs just going to vanish. He died of a wasting disease. A virus. A wasting virus. Probably an unknown virus.
...