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BIRGIT SCHREYER DUARTE |
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Nationality: n/a Email: Click here to contact Website: n/a |
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Literary Agent: n/a |
Please send me a biography and information about this Playwright
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Plays by Birgit Schreyer Duarte |
Kaspar & The Sea of Houses (Kaspar Hauser Meer) | ||
| 1st Produced: | Lower Ossington Theatre, Toronto | 04 Aug 2011 | ||||
Company: | twinwerks / SummerWorks Theatre Festival, Toronto | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #134208 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | translation drama/comedy | |||||
| Parts: | Male | - | Female | 3 | ||
Parts other: | - | |||||
Notes: | Original Playwright - Felicia Zeller. Available through: AO International www.aoiagency.com. First Production Co-Directed by Birgit Schreyer Duarte and David Jansen | |||||
Synopsis: | Three exhausted Children's Aid workers fight against an ever-growing pile of cases: babies must be removed from garbage-filled apartments, a feuding immigrant family reined in, the return of seven kids to their abusive parents prevented and single mothers taught how to run their households. To catch up, they speak in truncated language, piling new thoughts upon unfinished ones, only to get stuck even deeper in the pitfalls of paragraphs, moral obligation, failed judgment and hidden self-interests. Helpers are bound to turn into culprits. It becomes increasingly challenging for the social workers to keep the voices of others out of their own, fragmented speeches. Times and places collapse into each other, cause and effect become one, borders between clients and caretakers begin to blur. Felicia Zeller wrote Kaspar Hauser Meer as a commission for Freiburg Theatre in 2008, as a response to the so-called "Kevin case"-the discovery of a two-year old boy's body in his stepfather's fridge. The public had been particularly appalled by this case when it became known that Child Welfare had been monitoring the family for a while and was aware of the child's unsafe situation. Zeller tackled this sensitive subject not by putting the victims or the offenders in the centre of the action but by zooming in on the many social workers that struggle day by day to prevent such disasters. To this day, the play has received over 30 professional productions across Germany. | |||||
Further Reference: | - | |||||
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Test, The (Die Probe) | ||
| 1st Produced: | Canadian Stage, Berkeley St Theatre, Toronto | 03 Nov 2011 | ||||
Company: | Company Theatre / Canadian Stage, Toronto | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #134207 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | translation drama/comedy | |||||
| Parts: | Male | 3 | Female | 2 | ||
Parts other: | - | |||||
Notes: | Original Playwright - Lukas Barfuss. Available through: Alan Brodie Representation www.alanbrodie.com. First Production Directed by Jason Byrne | |||||
Synopsis: | The Test is about a paternity test that a young father undertakes to dispel the nagging doubt that his beloved toddler son may in fact not be his own. The play raises questions about the definition of fatherhood and family, of community and belonging, and questions the meaning of truth and authenticity. Barfuss's witty exploration of what the paternity test means for today's family - and, on a deeper level, what happens when we allow science to act as our only barometer of truth - will have you on the edge of your seat, and thinking deeply about the ties that bind us to those we love. It carries real pain, private and public. It can also be, in Birgit Schreyer Duarte's excellent translation, laughout-loud funny, even if its audience may not always feel much like laughing. Robert Cushman, National Post | |||||
Further Reference: | - | |||||
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