Notes From Underground
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- 10,99 €
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- 10,99 €
Description de l’éditeur
"A born storyteller with perfect pitch." - New York Times
This volume features two of Bogosian's more unsettling works. Notes from Underground charts, in diary form, the life of an urban recluse who wants desperately to be "normal" but ultimately sinks into an abyss of his own making. Scenes from the New World is a play composed of three one-acts, probing modern life on the eve of the millennium.
One of America’s premier performers and most innovative and provocative artists, Eric Bogosian’s plays and solo work include suburbia (Lincoln Center Theater, 1994; adapted to film by director Richard Linklater, 1996); Sex, Drugs, Rock & Roll, Pounding Nails in the Floor with My Forehead; Griller; Humpty Dumpty; 1+1; Skunkweed; Wake Up and Smell the Coffee; Drinking in America; Notes from Underground and Talk Radio (Pulitzer Prize finalist; New York Shakespeare Festival, 1987; Broadway, 2007; adapted to film by director Oliver Stone, 1988). He has starred in a wide variety of film, TV and stage roles. Most recently, he created the character of Captain Danny Ross on the long-running series Law & Order: Criminal Intent. In 2014, TCG published 100 (monologues), a collection that commemorates thirty years of Bogosian’s solo-performance career.
PUBLISHERS WEEKLY
Bogosian ( Talk Radio ) is a mercurial actor, a monologuist of great cunning whose characters are sleazy denizens of the underclass and working-class boors and bigots. This volume includes his first attempt at prose fiction and a recent stage play. The title piece is a novella in the form of diary entries by an unnamed man in early middle age, the product of an atomized and terrified society who watches televison in order to feel that he belongs to something. He smokes cigarettes, masturbates and fantasizes about being friends with Dan Rather. Finally, in a startling turn of events, he kidnaps two small children and takes off for the Midwest. Bogosian creates his narrator in a drolly deadpan voice, a series of rambling contradictions. By contrast, the play is a disappointing set of three disconnected acts linked by a narrator who seems to be an ineffectual, detached parody of the Stage Manager from Our Town . As portraits of an unnamed city at the end of the Reagan-Bush era, the three vignettes are mordant and often on target, particularly the first one, set among winos, whores and muggers. But the targeting of greedy yuppies and corrupt Hollywood producers has a deja vu weariness to it .
