The Age of Ophelia and the Sticky Transom

We live in The Age of Ophelia and of the sticky transom, and neither of those things are good, or worthy, when day is done. Ophelia is one of the most insipidly sad characters in all of Shakespeare’s greatest works — and in Hamlet, she not only dies a coward’s death — she also deeply burns disappointment into every reader of the play and observer of her character in performance.

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A Stone’s Throw: “That Abortion Play” 30 Years Later

Thirty years ago, as an undergraduate student at the University of Nebraska at Lincoln, I wrote a play: A Stone’s Throw. The full-length drama was about the dilution of the human spirit forged against the willful hard-edge of moral exhumation — but my production quickly became known on campus as “That Abortion Play.” You may download an early draft of “A Stone’s Throw” on this Boles.com Prairie Voice Archive Scripts page; and here some of the reviews of the production.

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A Brand New Boles Book for the Playwright in Society

Yes, today is a Day for Fools — but there’s no joking around that I now have a brand new Boles Book for the Playwright in Society — available for purchase from David Boles Books Writing & Publishing! This Boles Book for… is a thoughtful compilation of a lot of my writing on how the Playwright derives power and structure from the fabric of belonging.

BUY NOW!

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Does a Play Exist Without Performance?

There’s an old saying in some theatrical circles that a play does not exist unless and until is has been performed on a live stage in front of an audience.  You can imagine the heartache that creates for the amateur, but vigilant, Playwright who writes page after page only to have the work discounted in the end analysis by some because there is no final proof of production to validate the effort.  Is that a right and fair way to deal with a written Art in Performance?  Does the actor exist without being staged?  Does the director have a role without filling an empty space?

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From Page to Stage: Newark in Black and Blue in 2004

In the Fall of 2004, I was teaching a course at Rutgers University in Newark called “From Page to Stage” where the idea — as I was teaching the course — was to take original scripts written in class and present them in live performance to learn how the process of active creation worked.

The final project was a series of group presentations where students shared their lives as they were living it — and the alarming result of one racially diverse group was: “Newark in Black and Blue.”  That group’s bruising presentation was tough and blunt and dramatic and I decided we had to record that performance in audio so we could preserve the truth of the moment.

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The Nincompoop

Scene:  A blackened room.

Time: Yesterday.

(THE ACADEMIC is shining an interrogation light suspended from the ceiling into the eyes of THE PUBLISHER — who is blindfolded and tightly lashed to a steel chair with lengths of rusty chain.)

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The Carrie Diaries Review

When the television show Sex and the City had its original run on HBO, I was neither a subscriber to HBO nor particularly interested in the sex lives of four women that lived in New York City. A mere nine years after the show ended and two movies later, there is a new television show called The Carrie Diaries based on the teenage life of Carrie Bradshaw, one of the four women from Sex and the City. It chronicles her life and struggles as a high school student in the early nineteen eighties.

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