An ambitious, thought-provoking critique of tragedy in the 21st century.

THE RISK THEATRE MODEL OF TRAGEDY

GAMBLING, DRAMA, AND THE UNEXPECTED

Wong argues for a new model for tragedy in this debut work of literary criticism.

The stage tragedy was once at the artistic center of the culture, though much has changed in the centuries since Marlowe and Shakespeare gave the world Doctor Faustus and Macbeth. Wong argues that those dramatists succeeded in part because they had a model to work from: Aristotle’s Poetics. Essentially a tragedian’s how-to guide, Poetics has long since been rendered obsolete. Even so, a model is a valuable thing to have, and Wong seeks to provide a new one in the interest of returning the art form of tragedy to its former cultural relevance: “My term risk theatre derives from the notion that risk is central to the idea of tragedy. Risk theatre posits that each dramatic act is also a gambling act. Thus, the tragic occurs when risk runs awry, and risk theatre entertains by dramatizing this risk.” In an age of risk, when society lacks stability and to be heroic is to be a gambler, tragedies must find a way to dramatize the existential wager that people make every day. Wong outlines the structures and underlying theories of risk theatre, exploring how this model uniquely replicates the crises of our time. He also offers a historical overview of tragedy and analysis of the ways the genre functions as a medium both of entertainment and education. The prose here is academic but not alienating, and the author’s passion for his subject comes across in nearly every statement: “I propose that risk theatre prefers dangerous and uncertain settings not because, as some suppose, tragedy is an unhappy art, but because tragedy is a risk art. Because desperate times call for desperate measures, volatile settings increase the appetite for risk-taking.” The average reader can be forgiven for not giving tragedies much thought—that is part of Wong’s point—but the author’s diagnosis and remedy for the current state of theater are imaginative and quite persuasive. Playwrights will take a particular interest, but artists of any medium should consider Wong’s notion of the centrality of risk to the contemporary human condition.

An ambitious, thought-provoking critique of tragedy in the 21st century.

Pub Date: Jan. 28, 2019

ISBN: 978-1-5255-3755-4

Page Count: 378

Publisher: FriesenPress

Review Posted Online: April 8, 2019

Kirkus Reviews Issue: May 15, 2019

Did you like this book?

No Comments Yet

WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

Did you like this book?

IN MY PLACE

From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)

Pub Date: Nov. 1, 1992

ISBN: 0-374-17563-2

Page Count: 192

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1992

Did you like this book?

more