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Emanuele Vacchetto

EMANUELE VACCHETTO  

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below is a list of Emanuele Vacchetto's plays - click on a Play Title for more information

Last Night of Salome, The



Last Night of Salome, The

Synopsis:
It's way past closing time in a dirty, rundown bar owned by Daisy, an irritable, middle-aged woman whose only amusement that evening has been insulting a stone drunk man--her husband--who has passed out at a table. Outside, it's pouring rain. A glamorous woman enters in a distracted state of mind. She turns out to be the celebrated actress Veronica Lopez, famous for her roles as the femme fatale, especially Salome in Oscar Wilde's play of the same name. By force of her star's personality, plus some cocaine and a shared bottle of booze, Veronica slyly insinuates herself into Daisy's confidence. The two women bond over their shared disappointment with their deadbeat husbands--Daisy's is an alcoholic barkeep; Veronica's is a famous film director. It is all brazenly played out within earshot of Daisy's semi-conscious mate, and we get a fiery picture of the contrasting temperaments of two women who've been wronged. Daisy, who was never able to pursue her dream of being an actress, re-enacts a monologue she once performed at her Dad's lodge. Veronica enacts bits of her recent performance as Salome. Ultimately, we learn that life imitates art in this actress

Notes:
-

1st Produced:

Company:
Istituto di Studi dello Spettacolo-Teatro Studio

1st Published:
-   -

Music:
-

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Genre:
black comedy Comedy

Parts:
Male:  -            Female:  3            Other:  -

Further Reference:
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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.