Applause Books is proud to continue another series in this enormous diversity of contemporary American theater. This new edition of William W. Demastes Best American Short Plays contains fresh-voiced, cutting-edge works by twenty-six playwrights. Demastaes has published widely on modern theater and drama, including Comedy Matters, Spalding Gray’s America, Staging Consciousness, and Theatre of Chaos. As William Demastes brings together his selection of short plays there seems to be a common theme within each play, uncertainty. Below is an introduction as to what will await you upon reading Demastes’ best picks of American Short Plays.
“Uncertain seems to be the watchword of today’s world, filled as it is with surprises, shocks, and even a few delights. Uncertainty brings with it fear and insecurity, and a nostalgic longing for the good old days. But for some, uncertainty means opportunity, and along with that opportunity comes the prospect of change for the better. Fifty years ago, Bob Dylan inserted a catchy phrase into our cultural consciousness: The times they are a-changing. The 1960s did in fact mark changes of all sorts for our world, many good and even revolutionary. It was an amazing time marked by triumph and tragedy both great and small. But think about how much more times have changed in the half-century since Dylan’s declaration. Things not even envisioned by science-fiction visionaries are now part of our daily fabric. Technology has transformed our lives by placing information of all sorts literally at our fingertips. It has made us far more efficient in the workplace. And it has provided us the opportunity to share our lives with anyone at any time from any distance. Of course, this is not all good. Rapid pace and shrinking distance have reduced opportunities to reflect and contemplate. They have cut out times for creative play, for daydreaming, and so many other not-for-profit enterprises that make life worth living.
Then there are all those other changes, the ones that somehow have made us more alienated from one another than ever before. It is fortunate today that political adversaries remain unarmed, as oppositional political enmity has torn our country into enclaves of fear and mistrust. Race relations have reached both new highs and new lows. Sex and gender issues have received unprecedented public exposure, again for good and ill. And religion (traditional as well as New Age) continues its struggle against erosions of faith, leading to visions of godlessness and attendant despair. The triumph of tearing down the cold-war wall has brought on innumerable unintended negative consequences, opening the way for countless brush-fire tyrannies, and making the world in many ways more dangerous than ever before since we can’t even be sure who our enemies are, or what they want, or why they hate us.”
Make sure to read and learn more by purchasing The Best American Short Plays (2013-2014). We would love to hear from you and your thoughts on a short play of your choice within the book.
Bruce Miller is the author of The Actor as Storyteller, The Scene Study Book, Acting Solo, and Actor’s Alchemy. StageNotes.net asks Bruce, “What made you first get interested in Broadway and theater?”
I’m a certified secondary English teacher and I taught for three years and during that time I did a community theater production. I was always a lead or director in the camp show as a kid. That was a safe venue to do theater and I always loved it. In my first teaching job, which was middle school, I got called on to direct the middle school production of Arsenic and Old Lace and I had no clue what I was doing. Apparently, I did it better than most. That was my first toe in the water.
I taught high school English for four years and I went back to graduate school for Journalism. I wanted to be a television journalist and in order for me to take the graduate class I needed, which was Journalistic camerawork, I needed a prerequisite. The undergraduate journalistic prerequisite was full so they told me to take an acting class. Because I was a little older, the guy who taught the most advanced BA undergraduate scene study class said “Come on in, you’re smart. Work with these guys.” Without any previous training or classes, I went into the highest level scene study class and I was no worse than anybody else. Then I applied to grad school at the same school which was Temple University, they had a very good graduate program. I had no idea what I was doing and I didn’t get in.
I was so interested at this point that I went to find out what I would need to do in order to be good enough. I bumped into a woman who I had a graduate course with and she turned out to be the wife of the director of the acting conservatory and she spoke to her husband. Another long picaresque series of events-it seems like destiny in hindsight-I got into this program I didn’t deserve to be in. Within the three years of graduate school, I caught up, I guess, and I learned how to do some stuff.
When I left, the one big issue that everyone was talking about was my “technique” and my “toolkit.” Most of us didn’t really have a technique. Ironically, it was a really good acting program by reputation but none of us left with a solid background. It wasn’t until I was acting in NY and found some other teachers that I really learned to put together that thing called technique. Except for one really good teacher who had a tremendous influence on me, on all of us.
I dedicated my teaching career to making it [acting techniques] simple and clear. And so nothing I teach is original, other than maybe my definition of good acting, but everything else is just basic late Stanislavsky but articulated to the lowest common denominator and through repetition, it seems to work.
Keep reading this interview with Bruce Miller on StageNotes.net.
Acting can – and should – be more than guesswork and instinct. Actor’s Alchemy: Finding the Gold in the Script examines the relationship between the script and what an actor ultimately does on the stage or on screen. Here is a straightforward guide filled with useful information to help actors learn to use their scripts in a specific and analytical way to solve the problems of the scene and bring their elusive characters to life. In learning how to decipher the script, actors will be equipped to make the choices that lead to delivering a gold performance.
Join us for…
The Annual Best American Short Plays Performances
In celebration of the release of The Best American Short Plays 2009-2010 (Applause Theatre and Cinema Books), editor Barbara Parisi will be hosting the annual event at the Nuyorican Poets Café on October 10th. Guests include playwrights Daniel Gallant, Charlene A. Donaghy, Samuel Brett Williams, and more! Join us for readings and performances of excerpts from the plays in this new volume.
Nuyorican Poets Cafe
236 E. 3rd Street
(between Ave. B & C)
New York City
The Best American Short Plays identifies new, cutting-edge playwrights each year and collects the best of their plays into these anthologies. This series has been the standard of excellence for one-act plays in America, and many of the playwrights spotlighted have gone on to establish award winning careers, including Tennessee Williams, Edward Albee, David Mamet, and Horton Foote. This new volume includes plays from Murray Schisgal, Adam Kraar, Theodore Mann, Anthony Rapp, and many others.