By Professor Mac Wellman, Professor Marjorie Perloff
Cebrated for his dizzying linguistic innovations, his experimental narratives, his biting social and political opinions, and his absurdist humorousness, Mac Wellman has develop into considered one of America's major avant-garde playwrights. In Cellophane, Wellman bargains the 11 performs that he considers his most crucial: Albanian Softshoe, Mister unique Bugg, Cleveland, undesirable Penny, Cellophane, 3 Americanisms, Fnu Lnu, woman long gone, Hypatia, The Sandalwood field, and Cat's-Paw. Written among 1983 and 1998, they show off Wellman's on-going exploration of the bounds of language and the implications of humanity within the postmodern international. ''These plays,'' Wellman writes, ''are in regards to the heroism traditional humans needs to hire each day to maintain on functioning with any sure bet, with any excitement or delight, in an order of Being that has turn into unknowable, distant, a context of at top theoretical plausibility.'' additionally incorporated during this quantity is his acclaimed essay at the theater, ''A! Chrestomathy of twenty-two solutions to 22 fully Unaskable and Unrelated Questions relating Political and Poetic Theater.''
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He offers little cups of coffee to the two. The s l i n k i n g f i g u r e discreetly retires. w i n g f o o t appears, armed with a yataghan [sword] and stands guard. Pause. ) f a l s e a h m e d b e y You are perhaps wonder why I have summon you to this place. I am Ahmed Bey. Vizier of all the ice moons. You may bow. ) Actually I am not Ahmed Bey. I am a person of no importance attached by happenstance to the Sublime Porte of the Vizier of the Sanjak of Ops. He is Ahmed Bey. But I am a true Calendar, like my colleague Wingfoot, and a true drangue, as portrayed in the moving piece of theater presented by our Fatima, who was just here.
A disquieting sense of the loneliness of inﬁnite perspectives. rachel One day at a time Harry, ah, Fred. ) fred At least I’m not following that guy anymore. With the fez. 32 : Albanian Softshoe Total black. Scene ﬁve. Same as before. Another strange day. n e l l and r a c h e l . The former with her arm in a sling. nell Just a little puppy playfulness. rachel Must be painful. nell Looks worse than it feels. ) I’m a little worried about Bill. rachel Whatever for? nell Yesterday. I saw him out in the backyard.
Banana t h e l i t t l e lost boy within = a geezer waiting to happen. <> perot (pronounced “parrot”) i t ’s h a r d l y headline news to say that the false moralism of American theater is a form of thought control. On the other hand, it does need to be quietly and ﬁrmly stated. Whether it be the terminally upbeat product developed by the more ghastly of the Broadway regional sausage machines or what passes for earnest, politically committed theater downtown in New York or other supposedly sophisticated places, like San Francisco or the Twin Cities, false moralism ignores context, stresses the ostensible, and in particular forces a valorization of the real event by reducing it to mere performance—a suspect signiﬁer.