The Theatre of Christopher Durang documents and analyses the major plays and productions of one of America's significant contemporary playwrights who has contributed much to the American stage by his provocative works. It covers both his full-length and one-act plays, from his early success of Sister Mary Ignatius Explains it All For You (1974) to his most recent Tony-Award winning play, Vanya and Sonia and Masha and Spike (2012). Durang has given an original theatrical voice to American theatre by writing comedies that are irreverent and shocking, yet profoundly draw a connection between fear and laughter. This book, the first to provide an in-depth analysis of his plays, examines Durang's use of specific comedic genres such as black comedy, satire, and farce as the means to explore American social malaise. Placing Durang within a tradition of Theater of the Absurd, the author incorporates comedic theory to examine how laughter in performance can dissolve hierarchies and subvert social conventions.
More than any other playwright, Durang challenges traditional drama by breaking from typical realistic constructions of character, motivation, and plot. By offering a comprehensive examination of Durang's works, this study demonstrates how Durang's innovational dramaturgy and unique commentary on American culture has shaped our current theatrical possibilities, particularly in comedy. Additional critical perspectives are offered by scholars of American theatre, together with further resources to aid study and research.
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A comprehensive examination of Christopher Durangs major and minor (one-act) plays, from his early success of Sister Mary Ignatius Explains it All For You (1974) to his Tony-Award winning play, Vanya and Sonia and Masha and Spike (2012) focusing specifically on how his plays have been instrumental in defining American dramatic comedy.
Acknowledgments |
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ix | |
Foreword: Christopher Durang Explains It All for Me |
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x | |
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Introduction: Christopher Durang's Dark Comedy |
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1 | (20) |
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1 Perverting the Classics |
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21 | (38) |
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23 | (9) |
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Vietnamization of New Jersey: A American Tragedy |
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32 | (6) |
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A History of the American Film |
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38 | (11) |
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Mrs. Bob Cratchit's Wild Christmas Binge |
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49 | (7) |
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56 | (3) |
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59 | (34) |
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The Nature and Purpose of the Universe |
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61 | (7) |
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Sister Mary Ignatius Explains It All for You |
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68 | (6) |
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74 | (5) |
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79 | (7) |
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86 | (7) |
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93 | (22) |
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115 | (34) |
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117 | (4) |
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Death Comes to Us All, Mary Agnes |
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121 | (4) |
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125 | (6) |
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131 | (7) |
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The Marriage of Bette and Boo |
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138 | (11) |
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149 | (40) |
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150 | (5) |
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155 | (7) |
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162 | (6) |
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Why Torture Is Wrong, and the People Who Love Them |
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168 | (9) |
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Vanya and Sonia and Masha and Spike |
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177 | (12) |
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189 | (24) |
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We Laugh Track People: Christopher Durang's Drama of Audience Participation |
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189 | (13) |
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The Marriage of Parody and Satire: The All-American Comedy of Christopher Durang |
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202 | (11) |
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Conclusion |
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213 | (4) |
Notes |
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217 | (4) |
Works Cited |
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221 | (9) |
List of Contributors |
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230 | (1) |
Index |
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231 | |
Miriam M. Chirico specializes in dramatic literature and comedy studies at Eastern Connecticut State University, where she is Professor of English. Together with Kelly Younger, she edited How to Teach a Play: Essential Exercises for Popular Plays, also by Methuen Drama. She is most recently the author of Performed Authenticity: Narrating the Self in the Comic Monologues of David Sedaris, John Leguizamo and Spalding Gray, (Studies in American Humor 2016), and has written articles for Text and Presentation, Comparative Drama, and Shaw: The Annual of Bernard Shaw Studies. This is her first book.