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Dorcas Webster

DORCAS WEBSTER   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

Please send me a biography and information about this Playwright
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Plays by Dorcas Webster

Double Negative

1st Produced:

Oval House Theatre, London, EUR >>>

2007

Company:

ChoppedLogic

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

#75710

To Buy This Play:

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abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

Play/Drama

Parts:

Male

1

Female

3

Parts other:

-

Notes:

-

Synopsis:

John has lost his wife and his daughter, Kate, and even his neighbours have died. He rattles around the house, laughing too heartily to cover the silence. He has his photographs that show him where he came from,, and he has his camera to point through the net curtains at the world outside. But when the empty house next door is rented to what John thinks are Chinese chefs, and he starts photographing their comings and goings, the outside world invades John's lonely existence. First in the form of a brick through the window; then with the arrival of Mai, a young Chinese woman who has been trafficked.
- Lyn Gardner, Guardian

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.