|
|
SIMONA SEMENIC |
|
Nationality: n/a Email: n/a Website: n/a |
|
|
Literary Agent: n/a |
Please send me a biography and information about this Playwright
xxx doollee
Plays by Simona Semenic |
BLIND.NESS | ||
| 1st Produced: | 2008 | |||||
Company: | n/a | |||||
| 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 | #89921 | |||
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 | |||||
|
| ||||||
Genre: | Play/Drama | |||||
| Parts: | Male | - | Female | 4 | ||
Parts other: | - | |||||
Notes: | written by Ivan Talijancic and Simona Semenic | |||||
Synopsis: | Discipline-bending WaxFactory finally returns home to NYC, after three years in Europe, Latin America, and Australia, to present the world premiere of its latest original creation, BLIND.NESS (Love is a four-letter word), an in-depth and daring examination of what happens when love goes terribly wrong. BLIND.NESS reminds us that what we call 'love' is defined perhaps even more by absence and yearning than by romance and fulfillment.BLIND.NESS aims to reveal the deeply personal, intuitive, and emotional nature of its subject matter against some severely analytical views taken from the works of contemporary intellectuals, artists, and philosophers (in particular Roland Barthes, Marguerite Duras, and Sophie Calle,) who address love as a form of deficiency, or define it primarily by observing and studying emotional states engendered by its absence. Rather than quoting, BLIND.NESS will develop in reaction to such literary/philosophical references, by exploring a range of textual, visual, and sonic material mined from the extensive vault of 20th century pop culture (such as 'Crush 1' by Garbage from Baz Luhrmann's Romeo+Julietsoundtrack, P.J. Harvey's 'Rid of me', GG Allin's 'I wanna f*** your brains out', etc.), and will play with juxtaposition: placing intellectual vs. emotional, high-brow vs. low-brow, presence vs. absence, while maintaining an unnerving edge of dynamic tension between the opposites | |||||
Further Reference: | - | |||||
|
