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3.81 AVERAGE
3.81 AVERAGE
fast-paced
Plot or Character Driven:
Character
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
reflective
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
adventurous
tense
fast-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
fast-paced
Literally just about an affair but I read it in 1 hour which was not enough time for me to hate it. Maybe read it ig?
Update: Still boring
2/10
Update: Still boring
2/10
Weakness, he’s mastered the way to portray this thing in all of his plays. Of the three I’ve read, several years apart, this weakness has persisted in his plays, sometimes to the disgust of the reader and at others, to the utmost reverence of the reader. There is no explosion in his plays like there allegedly is in real life, but the characters in his plays don’t live in our world. Like he said on several occasions, they exist in their own world and yet speak volumes about this one. There is an underlying meaning in his dialogue, nearly incomprehensible in his earlier plays, The Birthday Party and The Homecoming, but so glaringly obvious in Betrayal. The dialogue, unlike in many plays, is short and mundane, it is here that the reader might perceive the weakness that all of his characters have. But these words mean nothing, it is that underlying meaning, those suppressed emotions, which cry out to the reader. This small and on the surface inconsequential play seems to hover in the air, between the words, coming alive in the silences.
Like in his previous works, he confines the premise to family conflict and weakness. The latter seems too important to be swept aside or to twist it with fancy words; it, despite what others say, is weakness and all of his characters have. The protagonists and the antagonists, the supporting characters -The world itself is a world of weakness. To these weak, shocking revelations, love, happiness, bonds, and the like don’t matter. They simply survive with an incapability to express, or perhaps without the desire to express. And from this refusal to express will be born an atmosphere of pain, subjected more on the audience than on the characters. There are also those who wish to express, who venture to try, but there are no given a listener, and so they too are left taciturn.
He uses time, not as a device to point the source that crumbled their lives, but simply as a tool to show. There seems to be no intention to his decisions. His wishes probably are that the readers witness a piece of a troubled life, and there he succeeds. The audience can see in this play, unlike in the above mentioned two. Not that those two were bad plays; if one is willing to be generous and forgiving, they at best good plays. Filled with unforeseeable actions and ends. Betrayal is different, it still offers the aspects of his previous play, but it is clear sighted and well woven. “This is a great play,” the audience will proclaim, and yet he composes this without conforming to any of the devices that make for a great play.
Like in his previous works, he confines the premise to family conflict and weakness. The latter seems too important to be swept aside or to twist it with fancy words; it, despite what others say, is weakness and all of his characters have. The protagonists and the antagonists, the supporting characters -The world itself is a world of weakness. To these weak, shocking revelations, love, happiness, bonds, and the like don’t matter. They simply survive with an incapability to express, or perhaps without the desire to express. And from this refusal to express will be born an atmosphere of pain, subjected more on the audience than on the characters. There are also those who wish to express, who venture to try, but there are no given a listener, and so they too are left taciturn.
He uses time, not as a device to point the source that crumbled their lives, but simply as a tool to show. There seems to be no intention to his decisions. His wishes probably are that the readers witness a piece of a troubled life, and there he succeeds. The audience can see in this play, unlike in the above mentioned two. Not that those two were bad plays; if one is willing to be generous and forgiving, they at best good plays. Filled with unforeseeable actions and ends. Betrayal is different, it still offers the aspects of his previous play, but it is clear sighted and well woven. “This is a great play,” the audience will proclaim, and yet he composes this without conforming to any of the devices that make for a great play.
emotional
reflective
tense
fast-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
hopeful
fast-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
reflective
fast-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes