具体描述
Dramatic Comedy / 5m, 2f / Unit Set In Eurydice, Sarah Ruhl reimagines the classic myth of Orpheus through the eyes of its heroine. Dying too young on her wedding day, Eurydice must journey to the underworld, where she reunites with her father and struggles to remember her lost love. With contemporary characters, ingenious plot twists, and breathtaking visual effects, the play is a fresh look at a timeless love story. "RHAPSODICALLY BEAUTIFUL. A weird and wonderful new play - an inexpressibly moving theatrical fable about love, loss and the pleasures and pains of memory." - The New York Times "EXHILARATING!! A luminous retelling of the Orpheus myth, lush and limpid as a dream where both author and audience swim in the magical, sometimes menacing, and always thrilling flow of the unconscious." - The New Yorker "Exquisitely staged by Les Waters and an inventive design team...Ruhl's wild flights of imagination, some deeply affecting passages and beautiful imagery provide transporting pleasures. They conspire to create original, at times breathtaking, stage pictures." - Variety
作者简介
Sarah Ruhl (born 1974) is an American playwright. She is the recipient of a MacArthur Fellowship.
Biography
Ruhl was born in Wilmette, Illinois. She studied under Paula Vogel at Brown University (A.B., 1997; M.F.A., 2001) and did graduate work at Pembroke College, Oxford.[1][2] Her play Late: A Cowboy Song was produced by Clubbed Thumb in 2003[3].
Ruhl gained widespread recognition for her play The Clean House, a romantic comedy about a physician who cannot convince her depressed Brazilian maid to clean her house. It won the Susan Smith Blackburn Prize in 2004. It was a Pulitzer Prize finalist in 2005.[4]
Her play Eurydice was produced off-Broadway at New York's Second Stage Theatre in June-July 2007. Prior to that it had been staged at Yale Rep (2006), Berkeley Rep (2004), Georgetown University, and Circle X Theatre.[5][6] Ruhl is also known for her Passion Play cycle that opened at Washington's Arena Stage in 2005, and subsequently was produced by the Goodman Theatre and Yale Rep. The Passon Play is scheduled to make its New York City premiere in Spring 2010 in a production by the Epic Theatre Ensemble in Brooklyn, New York.[7]
Her play Dead Man's Cell Phone premiered in New York City at Playwrights Horizons in 2008 in a production starring Mary-Louise Parker. It had its world premiere at Washington D.C.'s Woolly Mammoth Theatre Company in 2007.[8][9] It was produced at Oregon Shakespeare Festival in 2009.
Other plays include Orlando, Late: A Cowboy Song and Demeter in the City.
In September 2006, she received a MacArthur Fellowship. The announcement of that award stated: "Sarah Ruhl, 32, playwright, New York City. Playwright creating vivid and adventurous theatrical works that poignantly juxtapose the mundane aspects of daily life with mythic themes of love and war."[10]
In February 2009, her play In the Next Room (or The Vibrator Play) premiered at Berkeley Rep.[11][12] The play is scheduled to open on Broadway at the Lyceum Theatre with previews starting on October 22, 2009 and an official opening in November 2009. This marks Ruhl's Broadway debut.[13]
目录信息
读后感
When you hear the music that mourns lost love, it is Orpheus' spirit that guides the musicians who play it.
评分When you hear the music that mourns lost love, it is Orpheus' spirit that guides the musicians who play it.
评分When you hear the music that mourns lost love, it is Orpheus' spirit that guides the musicians who play it.
评分When you hear the music that mourns lost love, it is Orpheus' spirit that guides the musicians who play it.
评分When you hear the music that mourns lost love, it is Orpheus' spirit that guides the musicians who play it.
用户评价
这本书的开篇就给我一种扑面而来的历史厚重感，仿佛一下子被卷入了一个遥远而又鲜活的时代。作者在叙事上极为克制，却又在细节处笔力千钧，寥寥数笔就能勾勒出人物复杂的心境和那个时代特有的社会氛围。我尤其欣赏它对环境描写的细腻，那种光影的流转，空气中弥漫的气味，甚至微小的声响，都构建了一个无比真实的场景。这种沉浸式的体验让人读起来欲罢不能，仿佛每一次翻页都是在触摸历史的脉搏。故事情节的发展并不急于求成，而是像一条蜿蜒的河流，时而平静舒缓，时而暗流涌动，每一次的转折都显得自然而然，却又出人意料。它探讨的主题也很有深度，关于宿命、选择与个体在宏大叙事中的位置，这些思考会一直萦绕在我的脑海里久久不散，需要我放慢脚步，反复咀嚼。
评分读完这本书，我的内心久久不能平静，这感觉非常奇特，它不像那种直白的煽情小说，而是用一种近乎冷峻的笔调，将人性中最幽微、最难以言说的部分一一剖析开来。叙事视角时不时地在不同人物间切换，这种切换精准而巧妙，每一次转换都像是一次焦点调整，让我们从全新的角度审视同一事件，从而揭示出隐藏在表象之下的多重真相。我不得不佩服作者对人物心理刻画的精准度，那些细微的面部表情、不经意的肢体语言，都成了解读人物内心世界的关键线索。尤其是那些反派角色，他们并非扁平化的恶，而是有着自己清晰的逻辑和可理解的驱动力，这让整个故事的张力达到了一个很高的水平。它挑战了我对传统道德观的固有认知，让人不得不去深思，到底什么是对，什么是错，或者说，在某些特定的情境下，这些定义是否还有存在的必要。
评分这部作品最让我震撼的是它对“失落”这一主题的探讨，不是那种表面上的悲伤，而是深入到骨髓里的、无法挽回的缺失感。它通过一系列看似松散却又环环相扣的事件，构建了一个关于失去与记忆的迷宫。记忆在这里不再是可靠的档案，而是一个充满主观色彩、随时可能被重构的领域。我感觉自己就像一个侦探，试图在作者精心设置的迷雾中寻找那些被遗忘的碎片，每一次“发现”都伴随着新的疑惑。这种探索过程是令人上瘾的。而且，书中对“沉默”的运用达到了出神入化的地步，很多重要的信息和情感都是通过角色的缄默来传达的，那些未说出口的话语，其重量远超千言万语。这迫使读者必须积极地参与到叙事中去，去填补那些空白，去赋予“无声”以意义。
评分这本书的语言风格简直是一场盛宴，华丽而不失力度，充满了古典的回响，但又完全不让人感到晦涩难懂。作者似乎对词语的运用有着近乎偏执的追求，每一个形容词、每一个动词都像是经过了千锤百炼才最终落定，用在这里就是最完美的存在。我常常会因为一句措辞精妙的句子而停下来，反复诵读，感受那文字本身的音乐性。它不是那种快餐式的阅读体验，你需要投入全部的注意力去捕捉那些隐藏在文字背后的暗示和韵味。故事的节奏掌握得也很有章法，高潮部分处理得极其干净利落，没有丝毫拖泥带水，而低谷期的铺陈则缓慢而富有张力，如同山雨欲来的宁静。这种对节奏的掌控，展现了作者非凡的文学功底。
评分与其说这是一本小说，不如说它是一部精心打磨的影像文学。如果让我用一个词来形容阅读这本书的体验，我会选择“迷幻”。作者构建的世界观虽然基于现实，但却被一层薄薄的、带有象征意义的滤镜所覆盖，使得一切都显得既熟悉又陌生。我特别喜欢书中对于空间转换的处理，场景的切换往往伴随着人物内心状态的剧烈变化，建筑的几何结构似乎在映射着角色的心理困境。那种感觉就像是走入了一部超现实主义的电影布景之中，每一个角落都藏着寓意。情节的推进过程中，作者毫不留情地打破了线性叙事的传统，时间线常常是跳跃和折叠的，这要求读者必须时刻保持警觉，将散落的线索重新编织起来。这种阅读挑战性，恰恰是它魅力所在，它奖励了那些愿意投入时间去解码的读者。
评分To forget is to die.
评分To forget is to die.
评分The elevator in the rain
评分The elevator in the rain
评分Irresolvable
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